yy ze 
\¥ 
ON PUBLIC EXHIBITION 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE 6 EAST 23p STREET 


BEGINNING WEDNESDAY, MARCH 31, 1915 
CONTINUING UNTIL THE DATE OF SALE 


MASTERPIECES OF ENGRAVING 
| AND ETCHING 


COELECTED BY THE LATE 


GENERAL BRAYTON IVES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


ON MONDAY AND TUESDAY AFTERNOONS AND 
EVENINGS, APRIL 12TH AND 13TH 


BEGINNING AT 2.30 AND 8.15 O’CLOCK 


AND CONCLUDING ON 


WEDNESDAY AFTERNOON, APRIL 14TH, AT 2.30 O'CLOCK 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


CATALOGUE 


OF 


THE MASTERPIECES OF 
ENGRAVING AND ETCHING 


COPinc ERD BY THE LATE 


GENERAL BRAYTON IVES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE DATES HEREIN STATED 


feo TO BE CONDUCTED BY 


MR. THOMAS E. KIRBY 
AND HIS ASSISTANTS OF THE 


AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK CITY 
tULS 


“ SEN ee Sees 
BRS) : % ; : | 
a ie & ae ’ a ee 


THE AMERICAN ART ASSOCIATIO: 


DESIGNS ITS CATALOGUES AND DIREC 
ALL DETAILS OF ILLUSTRATION © 
TEXT AND TYPOGRAPHY 


Conditions of Sale 


€ 
1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. / 
2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for — 
re-sale the lot so in dispute. 


3. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 


4, Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 


~ lot as catalogued or make mention of the opinion of such expert, who thereby 


would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


AT THE AMERICAN ART GALLERIES 


MapIson SQUARE SouTH, New York City 


ENTRANCE 6 EAST 23RD ST. 


ORDER OF SALE 
MONDAY AFTERNOON, APRIL THE 121TH 
BEGINNING AT 2:30 O°’ CLOCK 


CATALOGUE Nos. 1 ro 214 INCLUSIVE 


MONDAY EVENING, APRIL THE 12TH 
7 BEGINNING AT 8:15 0’cLOcK 


CATALOGUE Nos. 215 tro 442 INCLUSIVE 


TUESDAY AFTERNOON, APRIL THE 138rnH 
BEGINNING AT 2:30 O'CLOCK 


CATALOGUE Nos. 443 To 654 INCLUSIVE 


TUESDAY EVENING, APRIL THE 187TH 
BEGINNING AT 8:15 O CLOCK 


CATALOGUE Nos. 655 to 866 INCLUSIVE 


WEDNESDAY AFTERNOON, APRIL THE 147TH 
BEGINNING AT 2:30 0 CLOCK 


CATALOGUE Nos. 867 Tro 1028 INCLUSIVE 


ore 
a , - 


FIRST SESSION 
MONDAY AFTERNOON, APRIL 12, 1915 
AT THE AMERICAN ART GALLERIES 
BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 1 to 214 inclusive 


JOHN SAMUEL AGAR 


An English portrait engraver and painter, who exhibited his works at 
the Royal Academy from 1796 to 1806. He was at one time President 
of the Society of Engravers, and worked mostly in stipple-—Brvyan. 


_ AGAR, JOHN SAMUEL 


1. CHarLoTtTE, Princess or Wares. Stipple. 
After Charlotte Jones. VERY FINE FROOF BEFORE ALL 
LETTERS, printed in black. VERY RARE. 


AGAR, JOHN SAMUEL 


2. Mrs. Durr. Stipple. 
After Richard Cosway. Impression from the retouched 
plate. Printed in red. Framed. 


AGAR, JOHN SAMUEL 


3. Lapy Heatucore. Stipple. About 1820. 
After Richard Cosway. Delicately printed in brown. 


HEINRICH ALDEGREVER 
(One of the “Little Masters’) 


Born at Soest, in Westphalia, 1502. After having studied the engravings 
of Diirer for some time, he went to Niirnberg and became Diirer’s pupil. 
Aldegrever’s prints are remarkable for the free and graceful treatment of 
the trees. 


ALDEGREVER, HEINRICH 


4. Lor anp His Davecuters. Painter-engraving. 1555. 
Bartsch, VIII. No. 17. . 


From the “History of Lot.” Fine impression. 


First Session, Monday Afternoon, April 12th 


ALDEGREVER, HEINRICH 


5. Ture Nariviry. Painter-engraving. 1553. 
Bartsch, VIII. No. 39. 


VERY FINE. 


From the Baron Desnoyers and Archinto Collections. 


ALDEGREVER, HEINRICH 


6. Porrrair oF Martin LUTHER. 
Bartsch, VIII. No. 184. 


SUPERB IMPRESSION. 


Painter-engraving. 


From the Duke of Aremberg Collection. 


ALDEGREVER, HEINRICH 


7. Porrrarr or Himsetr av THE AcE oF 35. Painter-engraving 


Bartsch, VIII. No. 189. 


FINE IMPRESSION. 


From the Mary Jane Morgan Collection. 


ALDEGREVER, HEINRICH 


8. Cur~pren Piayinc Near A Wet. Painter-engraving. 1539 


Bartsch, VIII. No. 267. 


FINE IMPRESSION. 


From the Duke of Aremberg ‘Collection: 


ALBRECHT ALTDORFER 
(One of the “Little Masters’) 


Born at Ratisbon 1480; died there 1538. 


The oldest artist in the group 


of “Little Masters,’ who was the least dependent on Diirer in the forma- 
tion of his style-—Hurnp. 


ALTDORFER, ALBRECHT 
9. ‘THE Crucirixion. Painter-engraving. 


Bartsch, VIII. No. 8. 


VERY FINE IMPRESSION OF A RARE PLATE. 


From the W. Bell Scott, Von Liphart and H. C. Hoskier 


Collections. 


First Session, Monday Afternoon, April 12th 


ALTDORFER, ALBRECHT 


10. A Cur. Painter-engraving. 
Bartsch, VIII. No. 94. 


FINE IMPRESSION AND RARE. 


Duplicate from the British Museum. 


AMERICANA 
AMERICANA—BROOKSHAW, RICHARD 


li. Jonn Pau Jones. Mezzotint. (1736-1804). 
Engraved by Richard Brookshaw. Proof before letters. 
Very FINE. Framed. | 


From the Hampton L. Carson Collection. 


AMERICANA—CONTEMPORARY ENGRAVER 
12. Masor GENERAL IsragEL Putnam. Mezzotint. 
Contemporary engraving after Wilkinson, published by 
C. Shepherd, London, 1775. A veERY BRILLIANT IMPRES- 
SION WITH WIDE \MARGINS. VERY RARE. 


From the James T. Mitchell Collection. 


AMERICANA—CONTEMPORARY ENGRAVER 


138. Generat WorFre. Contemporary engraving. Mezzotint. 
Ceomith, p.. 1750. 


EXCESSIVELY RARE. 


AMERICANA—CONTEMPORARY ENGRAVER 


14. Cotonet Benepicr Arnoup. Mezzotint. 
Contemporary engraving published by Thomas Hart, Lon- 
don, 1776. Supers IMPRESSION. VERY RARE. 
From the Hampton L. Carson and James T. Mitchell 


Collections. 


AMERICANA—CONTEMPORARY ENGRAVER 
15. Maszor Generat Horatio Gates. Mezzotint. 
Contemporary engraving, published by John Morris, Lon- 
don, 1778. VERY RARE. 
From the Hampton L. Carson and James ‘T. Mitchell 


Collections. 


First Session, Monday Afternoon, April 12th 
Ae ag a Ne a 


AMERICANA—CONTEMPORARY ENGRAVER 


16. Commopore Horxins. Mezzotint.. 
Contemporary engraving published by ‘Thomas Hart, Lon- 
don, 1776. BriLiiANT IMPRESSION WITH FULL MARGIN. 
EXCESSIVELY RARE. 
From the Hampton L. Carson and James T. Mitchell 


Collections. fo: 


AMERICANA—CONTEMPORARY ENGRAVER 


17. ANoTHER IMPRESSION ‘OF THE SAME 
With full margin. Uncut edges. 


AMERICANA—CONTEMPORARY ENGRAVER 


(Born at Derby, Conn., 1778; died in Philadelphia, 
1843.) Mezzotint. 

Contemporary engraving published by Freeman & Pierce, 
Philadelphia, 1818. After a painting by Gilbert Stuart. 
BRILLIANT OPEN LETTER PROOF OF UNUSUAL BEAUTY. ‘The 
impressions usually met with are very weak. 


From the James T. Mitchell Collection. 


: 
18. Caprain Isaac Hurt, ComMMANDER OF. THE CONSTITUTION. | 
| 


AMERICANA—DAWE, GEORGE 


19. Portrait or GEorce Wasuineton. Mezzotint. 
Hart, 886; Baker, 80. | 
Engraved by Dawe (worked 1760-1780). After Wright. 
FINE IMPRESSION OF ONE OF THE RAREST OF THE WRIGHT 
TYPE, WITH GOOD MARGINS. Framed. 


From the James T. Mitchell Collection. 


AMERICANA—ENGRAVING 


20. Sir Warrer RareicH. Engraving. 
Published by Gillflower. Very RARE. 


From the Hampton L. Carson Collection. 


First Session, Monday Afternoon, April 12th 


AMERICANA—ENGUIDANOS, THOMAS LOPEZ 


21. FarHer BarTHOLOMEO DE Las Casas 
Engraved by Thomas Lopez Enguidanos (flourished in 
Spain about 1780-1815). Rare. 


From the Hampton L. Carson Collection. 


AMERICANA—FISHER, EDWARD 


22. BenzaMiIn Franxurn. Mezzotint. 
Ce simith, JI. ~No. 19. 
Engraved by Ed. Fisher after M. Chamberlain. Very 
FINE IMPRESSION AND RARE. Duplicate from the Royal 
Museum of Saxony at Dresden. 


AMERICANA—GREEN, VALENTINE 


23. GENERAL NATHANIEL GREENE. Mezzotint. (1742-1786.) 
Geeomith, II. No. 56. 
Engraved by Valentine Green after Peale. First state. 
Open letter proof. CHOICE, BRILLIANT IMPRESSION. Ex- 
CESSIVELY RARE. 


From the James T.. Mitchell Collection. 


AMERICANA—JOSI, C. 


24. THapprevus Kosciusko. Stipple. (1746-1817. Served in the 
American Revolution. ) 
Engraved by C. Josi (pupil of Bartolozzi). Fine impreEs- 


SION WITH GOOD MARGIN. 


From the James T. Mitchell Collection. 


AMERICANA—MEYER, HENRY 


25. CommoporE SrTePHEN Decatur. Stipple. (Entered the 
Navy 1798 and died 1812.) 
Engraved by Henry Meyer after J. W. Jarvis. Fine, 


RICH IMPRESSION WITH FULL MARGIN. Rare. 


From the James T. Mitchell Collection. 


First Session, Monday Afternoon, April 12th 


AMERICANA—TANNER, B. 
26. Macponovenu’s Vicrory oN Laxe Cuampiarnx. Lime-engray- 
ing. : 
After Reinagle. Engraved by B. Tanner. VERY FINE 


IMPRESSION. Framed. 


From the Hampton L. Carson Collection. 


AMERICANA—TIEBOUT, C. 


27. GeneraL Horatio Gates. Stipple. 
Engraved by C. Tiebout after G. Stuart. Fine mprEs- 
SION, IN SPLENDID CONDITION AND EXCESSIVELY RARE. 


From the James T. Mitchell Collection. 


FAUSTINO ANDERLONI 


Born at Sta. Eufemia, near Brescia, 1766; died in Paris, 1847. 


ANDERLONI, FAUSTINO 


28. THE AssUMPTION OF THE VirGin. Line-engraving. 
Apell, pp. 11-12. No. 8: . 
After Guido Reni. First state. Remarque proof. VEry 
FINE. Framed. This plate was begun by Giovita Gara- 
vaglia. — 


PIETRO ANDERLONI 


Born at Sta. Eufemia, near Brescia, 1784; died at Cabiate, near Milan, 
1849. 


ANDERLONI, PIETRO 


29. Mosrs ar THE Wet, after N. Poussin. Curist AND THE 
Woman Taken 1n Aputtery, after Titian. Line-en- 
gravings. 

Apell, pp. 13-14. Nos. 1 and 12. 

First states. Remarque proofs with the white lacing of 
the sandals in No. 1 and with the flowers in the fore- 
ground unfinished in No. 12. Very Fine parr. Framed. 


(2) 


First Session, M onday Afternoon, April 12th 


ANDERLONI, PIETRO 


30. JUDGMENT OF SoLomon. Line-engraving. 
Apell, p. 13.° No. 2. 
After Raphael. Second state. Proof with the inscrip- 
tion at the base only; before the names of the artists. 
VERY FINE AND RARE. Framed. 


ANDERLONI, PIETRO 


‘31. Maponna DEL PassEceio. Line-engraving. 
Apell, p. 14. No. 6. 
After Raphael. First state. Proof with “P. A. f 1882” 


only, in the lower margin. Very Fine. Framed. 


ANDERLONI, PIETRO 


32. Expursion or Henzioporus; AtrritA Brerore Rome.  Line- 
engravings. 
Apell, p. 15. Nos. 13 and 16. 
Both after the famous frescoes by Raphael in the Stanzex 
(Vatican). Fourth state. Artist’s proofs with “P. A. 
F.” only in the lower margin. VeERyY FINE Parr. Framed. 


(2) 


ZOAN ANDREA 


“Most of the prints by this engraver are marked with the letters ‘Z.A.’ of 
which no one had been able to give a satisfactory explanation until the 
Abbé Zani informed us that in the Venetian dialect these letters signified 
Zoan (Giovanni) Andrea. Nothing is known of the life of this able en- 
graver. His prints prove that he imitated the technique of Andrea Man- 
tegna and it appears that several among his engravings were done after 
designs by that great master; it is certain that he copied several of 
Mantegna’s prints. He also copied several prints by Albrecht Diirer, 
among them The Carrying off of Amymone, the original of which is dated 
1516. This goes to show that the prints of Zoan Andrea belong less to 
the fifteenth century than to the first decades of the sixteenth.”—Barrscn. 


ANDREA, ZOAN 


33. JupirH WirH THE Heap or Hororernes. Engraving. 
Bartsch, XIII. No. 1. 


VERY FINE AND EXTREMELY RARE. 
From the Hawkins, R. Fisher and F. Bullard Collections. 


First Session, Monday Afternoon, April 12th 


ANDREA, ZOAN 


34. Turer Amoretti. Engraving. 
Bartsch, ALLE Now: 


VERY FINE AND RARE. 


ANDREA, ZOAN 
35. Four Women Dancrine (DaNcE oF THE SEASONS). Engrav- 
ing. 
Bartsch, XIII, p. 305. No. 18. 
BEAUTIFUL, STRONG IMPRESSION, in dark brown ink, and 
perfect condition. 
From the C. Rogers and J. 8. Morgan Collections. 
This print, which Hind justly calls one of the most beautiful engravings 
of the school of Mantegna, reproduces in reverse, with variations, four of 
the dancing nymphs from Mantegna’s painting, “The Parnassus,” in the 


Louvre. It was most probably engraved after a drawing by Mantegna for 
that picture. 


ANDREA, ZOAN 


36. IcNorancEe anp Mercury: An ALLEGORY OF VIRTUE AND VICE. 
Engravings. 
Bartsch, XIII. Nos. 16 and 17. 
THE COMPLETE COMPOSITION IN STRONG EARLY IMPRESSIONS 
OF THE HIGHEST ORDER. ‘The British’ Museum possesses 
Mantegna’s original design for the upper part. (2) 


ANONYMOUS 


ANONYMOUS GERMAN WOOD ENGRAVER 


37. Purcatory. Woodcut. 
Schreiber, II. No. 1884. 
An interesting print well preserved and with the original 
coloring. 


ANONYMOUS ENGRAVER OF XVTH CENTURY 


38. Venus Upon THe Sea. Engraving. 
Judging from its style, this print seems to to be by some 
Italian engraver of the end of the fifteenth or the beginning 
of the sixteenth century. 


—— ee ee 


ee ee 


First Session, Monday Afternoon, April 12th 


THOMAS G. APPLETON 
APPLETON, THOMAS G. 


39. Lapy Hamitron as THE “AMBASSADRESS.”’ 
After G. Romney. Artist’s proof on India Baus signed 
by the engraver. Very rare. Framed. 


T. L. ATKINSON 


Contemporary mezzotinto-engraver. 
ATKINSON, T. L. 


40. Lapy Gopiva. Mezzotint. 
After Van Lerius. Signed artist’s proof. Framed. 


HYACINTHE L. V. J. B. AUBRY-LECOMTE 


Born at Nizza,1797. Died in Paris, 1858. Historical painter and litho- 
grapher. 


AUBRY-LECOMTE, HYACINTHE L. V. J. B. 


41. Psycué et L’Amovr. Lithograph. 
VERY FINE. 


PIERRE AUDOUIN 


Born at Paris, 1768; died there, 1822. Pupil of Beauvarlet. 


AUDOUIN, PIERRE 
42. Venus Bursstr. Line-engraving. 
Apell, p. 24. No. 5. 
After Raphael. Second state. Proor BEFORE LETTERS, 
WITH THE COAT OF ARMS. Framed. 


BENOIT AUDRAN 


Second son of Germain Audran; born at Lyons, 1661. First received in- 
struction from his father, afterwards studied under his uncle, Gérard 
Audran. Entered the Academy in 1709; later he was appointed en- 
graver to the King, with a pension. 


AUDRAN, BENOIT 
43. JEAN-BaprTistE COLBERT 
After C. le Febvre. A fine likeness of the famous Colbert, 
whose portrait was also made by Nanteuil and other 
noted engravers. Framed. 


First Session, Monday Afternoon, April 12th 


BACCIO BALDINI 


This engraver, born about 1436, in Florence, worked in that town 
between the years 1460 and 1480. According to Vasari his -engravings 
come, in order of time, immediately after those of Finiguerra—who is 
credited with being the earliest engraver—the inventor of the art. Baldini 
is said to have worked in connection with Botticelli, after whose designs 
all his plates were engraved. His plates are unsigned and are executed 
in the manner of the pen drawings of his time. ‘They are, of course, of 
the very greatest rarity. 


BALDINI, BACCIO 
44. Mars. Engraving. 


B. 21s p18 Nowe 
This and the following number, “Luwna,’ 
of eight plates, which seem to have been intended to ac- 


> are from a series 


company an almanac, whereby one could calculate Saints’ 
days falling between the years 1465 and 1517. Bartsch 
writes that he had never seen these eight plates, which he 
describes at length. Proor oF EXCEPTIONALLY FINE QUAL- 
ITY, WITH LARGE MARGINS. 


From the P. Gellatly Collection. 


BALDINI, BACCIO 
45. Luna. Engraving. 


B,, XI; p 19% Nooo 
Or EQUALLY FINE QUALITY AS THE FOREGOING AND IN 
EQUALLY REMARKABLE CONDITION. 


From the P. Gellatly Collection. 


BALDINI, BACCIO 


46. Dante anv Viren Wirn THe Vision or BEATRICE. Engrav- 


ing. 
Bartsch, XIII, p. 176. No. 88. 
After a design of Sandro Botticelli. Illustration to 
Dante’s “Divina Commedia.” Florence, 1481. Canto IL 
From the edition by Niccolo di Lorenzo della Magna. 
BEAUTIFUL EARLY IMPRESSION in brown ink. 


From the Theodore Irwin and J. S. Morgan Collections. 


EE a 


First Session, Monday Afternoon, April 12th 


JOHANNES BANKEL 


Born at Niirnberg, 1837. 


BANKEL, JOHANNES 


47, Castor AnD PoLiux 
Apell, p. 33. 
After P. P. Rubens. Remarque proof on India paper. 
Framed. 


JACOPO DE’ BARBARI 


(The Master of the Caduceus) 


Born 1450; died before 1516: Worked in Venice, Niirnberg and Burgundy. 
Perhaps no engraver has ever had. quite the mastery of draperies that 
Barbari possessed. His treatment of them was almost as far in advance 
“of the contemporary Italian school as it was in advance of the German. 


BARBARI, JACOPO DE’ 


48. St. CATHERINE. Engraving. 
Bartsch, VII. No. 10. 


STRONG, EARLY IMPRESSION OF RARE BEAUTY. 


From the J. S. Morgan Collection. 


BARBARI, JACOPO DE’ 


49. Apotto anp Diana. Engraving. 
Bartsch, VII. No. 16. 
BRILLIANT AND STRONG IMPRESSION OF THE GREATEST 
BEAUTY, SHOWING THE PLATE LINE. 


From the Firmin-Didot Collection. 


This engraving is remarkable for its relations with Diirer’s engraving of 
the same subject. While in line and composition these two prints show 
little resemblance, the interesting fact is, that there exists a drawing 
from the hand of Diirer, in the British Museum, forming apparently a 
study for his engraving in which Diana is also seen from the back, as 
in Barbari’s plate. 


BARBARI, JACOPO DE’ 


50. Mars, Venus anp Cupip. Engraving. 
Bartsch, VII. No. 20. 
VERY FINE AND EXTREMELY RARE. 
From the John Barnard and G. Hibbert Collections; also 
Duplicate from the British Museum. 


First Session, Monday Afternoon, April 12th 
ease a a anon a a a a ek 


THOMAS OLDHAM BARLOW 


English mezzotint engraver, born at Oldham, 1842. Pupil of Stevenson, 
Royston and Samuel Cousins. 


BARLOW, THOMAS OLDHAM 
51. Porrrair or Cuarztes Dickens. Mezzotint. 


After Firth. Proof before all letters on India paper. FINE 
IMPRESSION AND RARE. 


W. W. BARNEY 
BARNEY, W. W. 


52. GreorcEe SPENCER, Kart OF SUNDERLAND, AND Lorp CHARLES 
Spencer. Mezzotint. 
After Richard Cosway. First state. Open letter proof 
with small margin; the plate-mark is cut off. 


FRANCESCO BARTOLOZZI 


Born in Florence, 1727. Pupil of Joseph Wagner at Venice. In 1764 
he removed to London, and in 1769, upon the foundation of the Royal 
Academy, was nominated as one of the original members. He died in 
Lisbon on March 7, 1815. 


BARTOLOZZI, FRANCESCO 


53. CuUPIDON ACHETE TROP-CHER. Stipple. 
After John Sturt. FINE IMPRESSION PRINTED IN COLORS. 


BARTOLOZZI, FRANCESCO 


54. Gentus Descripine Beauty. Stipple. 
After J. B. Cipriani. Fine proor, WITH THE ARTISTS’ 
NAMES AND THE PUBLICATION LINE IN SCRATCHED LETTERS. 
Printed in red. 
Companion to No. 55. 


BARTOLOZZI, FRANCESCO 


55. PRupENCE anv Bravuty. Stipple. 
After G. B. Cipriani. Artist’s proof, with the publisher’s 
line in scratched letters. Very rine. Printed in red. 


Companion to No. 54. 


First Session, Monday Afternoon, April 12th 


BARTOLOZZI, FRANCESCO 


56. ANOTHER IMPRESSION OF THE SAME. Stipple. 
Nicely printed in colors. VERY FINE IMPREssION. Framed. 


BARTOLOZZI, FRANCESCO 


57. Love Cares’p; Love Resectrep. Stipples. 
Both after G. B. Cipriani. A parr OF VERY FINE PRINTS IN 
BROWN AND IN PERFECT ORDER. (2) 


BARTOLOZZI, FRANCESCO 


58. A Nest or Curpips. Stipple. 
From a drawing by Miss Aspinwall at Naples. Very FINE 
EARLY IMPRESSION IN coLors, before Schiavonetti’s name 
was removed and Bartolozzi’s substituted. Impressions of 
this state and quality are excessively rare. 


BARTOLOZZI, FRANCESCO 


59. Tue Graces Crownine THE Bust or RapHaer. Stipple. 
After G. B. Cipriani. Proof before letters, with the pub- 
lisher’s line in script. Printed in brown. Very FINE. 


BARTOLOZZI, FRANCESCO 


60. Hercutes anp OmpHaLr. Oval. Stipple. 
After G. B. Cipriani. Artist’s proof printed in brown, 
in perfect condition. 


BARTOLOZZI, FRANCESCO 


61. Venus ATTIRED BY THE GRaAcEs. Stipple. 
After Angelica Kauffmann. Proof before all letters, 
printed in red. UNUvsUALLY FINE PROOF OF THIS ATTRAC- 
TIVE ENGRAVING. Framed. 


BARTOLOZZI, FRANCESCO 


62. Venus Curpine Curip. Stipple. 
After Sir Joshua Reynolds. Frye prooF BEFORE LETTERS, 
printed in brown. Rare in this state. 


BARTOLOZZI, FRANCESCO 


63. Venus PresENTING THE Cestus To Juno. Stipple. 
After G. B. Cipriani. Proof before letters, printed in red. 
VERY FINE. 


First Session, Monday Afternoon, April 12th 


BARTOLOZZI, FRANCESCO 


64. Vexus SurrounvEeD BY Cupips; THe First Kiss or Love. 
Stipples. ee 
Both after Cipriani. The first one with the full title. 
The second a fine open letter proof. Both printed in 
brown. Framed. (2) 


BARTOLOZZI, FRANCESCO 


65. Vicrory. Stipple. 
After G. B. Cipriani. Proof before all letters; printed in 
brown. | 


BARTOLOZZI, FRANCESCO 


66. Girt Looxine Inro a Mirror. Oval. Stipple. 
After Angelica Kauffmann. Proof before letters, nicely 
printed in colors. 


BARTOLOZZI, FRANCESCO 


67. THe Power or Beauty; THe Power or Love. Stipples. 
(1783. ) 
Both after G. B. Cipriani. Nicely printed in red. Framed. 


(2) 


BARTOLOZZI, FRANCESCO 


68. Rurau Innocence. Stipple. 
Nicely printed in colors. Framed. 


BARTOLOZZI, FRANCESCO 


69. A Sr. Gitzs’ Beauty. Stipple. 
After Benwell. Proof before letters, printed in black. 
Full margin. SvuperB IMPRESSION IN PERFECT CONDITION. 
Framed. 


BARTOLOZZI, FRANCESCO 


70. THe Tweive Monrus. Stipples. 
(One of them engraved by W. N. Gardner.) After W. 
Hamilton. Beautiful color-prints of a very rare set, only 
one of which (November) is missing. Framed. (11) 


; First Session, Monday Afternoon, April 12th 


BARTOLOZZI, FRANCESCO 


71. Wispom. Stipple. 
After G. B. Cipriani. Nicely printed in colors. Framed. 


BARTOLOZZI, FRANCESCO 


72. Mrs. Apincton as THE Comic Muse. Stipple. 
After Richard Cosway. Proof before letters, printed in 
brown. Very FINE. Framed. 


BARTOLOZZI, FRANCESCO 


73. THe Honovurasre Miss Brycuam.. Stipple. 
After Sir Joshua Reynolds. Supers impression in red- 
dish brown. VERY RaRE. 


BARTOLOZZI, FRANCESCO 


74. Porrrait or Bonaparte. Stipple. 
After Appiani. Open letter proof, nicely printed in colors. 
VERY FINE AND RARE. 


BARTOLOZZI, FRANCESCO 


75. Miss Farren (ExvizapetrH, Countess oF Dersy). Stipple. 
After Sir Thomas Lawrence. SuPERB OPEN LETTER PROOF 
WITH THE COAT OF ARMS, BEAUTIFULLY PRINTED IN COLORS. 
Very rARE. The original painting is in the J. P. Morgan 
Loan Collection, Metropolitan Museum of Art. Framed. 


BARTOLOZZI, FRANCESCO 
76. Grorce IV., WHEN Prince or Wates. Stipple. 


After L. Russell. BEauTiIFUL IMPRESSION IN COLORS. VERY 
RARE. 


BARTOLOZZI, FRANCESCO 


77. Sumpriciry (Miss Gwarxin). Stipple. 
After Sir Joshua Reynolds. Script letter proof printed in 
brown. A VERY FINE IMPRESSION, AND RARE. 


BARTOLOZZI, FRANCESCO 


78. Tue Farr Morauist anp Her Pupit (Mrs. Harpince anp 
HER Son). Stipple. 
After Richard Cosway. A VERY FINE IMPRESSION in brown, 
but without margin. 


First Session, Monday Afternoon, April 12th . 
Sp as, aN Re eer 


BARTOLOZZI, FRANCESCO— 


79, ANoTHER ImpRESSION OF THE Same. Stipple. 
Very BEautiruL. Proof before letters, printed in brown. 
Framed. 


\ 


BARTOLOZZI, FRANCESCO 


80. Porrrair or AnceLicA KaurrMann. Stipple. ee 
After herself. BrauTIFUL PROOF BEFORE LETTERS, printed’ +_ 
in red. Framed. 


BARTOLOZZI, FRANCESCO 


81. Ture Lams Famity. Stipple. | 
After Sir Joshua Reynolds. Proof before letters in brown. 
VERY FINE. 3 3 


BARTOLOZZI, FRANCESCO 


82. Mary QuEEN or Scots anp Her Son, James I. Line-en- 
graving.. 
Apell, p. 89. No. 17. | 
After F. Zuccaro. First state. Proof with the names 
of the artists and with the publication line only. Supers 
IMPRESSION IN PERFECT CONDITION. 


From the Earl of Aylesford Collection. 


BARTOLOZZI, FRANCESCO 


83. Witiiam Murray, Lorp Mansrietp (Chief Justice of the 
King’s Bench). Stipple. | 
After Sir Joshua Reynolds. Very rine. Proof before 
letters, with the coat-of-arms. Framed. 


This plate is usually conceded to be the engraver’s masterpiece in por- 
traiture. 


BARTOLOZZI, FRANCESCO 


84, Lapy Smyru (and her children: Louisa, Gzorcz Henry and 
CHARLOTTE). Stipple. 
After Sir Joshua Reynolds. Fixe impresston, printed 
in brown. Repaired. 


i ted 


First Session, Monday Afternoon, April 12th 


BARTOLOZZI, FRANCESCO 


85. Tue Rr. Hon. Lavinia, Countess Spencer. Stipple. 
After Sir Joshua Reynolds. Proof before all letters, 
printed in brown. Extra large margin. Very FINE. 
Framed. 


Countess Spencer was eldest daughter of Charles, Earl of Lucan; married 
Viscount Althorp, afterwards second Earl Spencer. 


BARTOLOZZI, FRANCESCO 


86. Epwarp, Lorp THurtow (Lord High Chancellor of Great 
Britain).  Stipple. 
After Sir Joshua Reynolds. Proof with the artists’ names 
and Poggi’s address only, in lightly-etched letters. 
Framed. 


BARTOLOZZI, FRANCESCO 


87. Le Strence: “Parce somnum rumpere.” Line-engraving. 
Apell, p. 388. No. 6. 
After Annibale Carracci. First state. VERY FINE PROOF 
BEFORE LETTERS AND THE BORDER. Framed. 


JACQUES FIRMIN BEAUVARLET 


Born at Abbeville about 1731; died in Paris, 1797. “He went to Paris when 
young, and was instructed in the art by Charles Dupuis and Laurent Cars, 
His first manner was bold and free, and his plates in that style are preferred 
by some of the more highly-wrought prints which he afterwards produced, 
although it must be confessed that the latter are executed with great neat- 
ness and delicacy.”—Bryan. 


BEAUVARLET, JACQUES FIRMIN 


88. Le Rerovur pu Courrier. Line-engraving. 
Portalis and Beraldi, I. No. 7. 


After F. Boucher. BEAUTIFUL PROOF BEFORE ALL LETTERS. 


BEAUVARLET, JACQUES FIRMIN 


89. La Famitte pu FERMIER 
Portalis and Beraldi, I, p. 143. No. 11. 
- After J. Honoré Fragonard. First state. SupERB PROOF 
BEFORE ALL LETTERS. Rare. 


First Session, Monday Afternoon, April 12th 
Miia aa iat eee et ee ES es ea 


BEAUVARLET, JACQUES FIRMIN 


90. Le Renvez-vous AcréasLe. Line-engraving. 
Portalis and Beraldi, I, p. 144. No. 16. 
After Raoux. Very rine. Framed. 


BEAUVARLET, JACQUES FIRMIN 


91. Lecture Espacnore. Line-engraving. 
Portalis and Beraldi, I, p. 144. No. 20. 
After C. Vanloo. Framed. 


The figure of the governess is said to be a likeness of the painter’s wife. 


BEAUVARLET, JACQUES FIRMIN 


92. Le Comre p’Artors ET MapEMoIsELLE CuxoTiILpE (Les 
Enfants de France). Line-engraving. 
Portalis and Beraldi, I, p. 145. No. 24. 
After Drouais. Framed. 


PoRTALIS SAYS THIS IS ONE OF THE “CHEFS-D’EUVRE OF THE ENGRAVER.” ‘The 
lace of the little princess is most excellently done. 


BEAUVARLET, JACQUES FIRMIN 


93. Porrrair or J. B. Poauetin pe Mourrere. Line-engraving. 
Portalis and Beraldi, I, p. 147. No. 34. 
After S. Bourdon. First state. SUPERB PROOF BEFORE 
ALL LETTERS, WITH LARGE MARGIN. EXCEEDINGLY RARE. 


BEAUVARLET, JACQUES FIRMIN 


94. DanisH Cavatiers SEDUCED BY THE Nympus or ArmiIDA; 
TELEMACHUS IN THE IsLAND oF Catyrso. Line-en- 
gravings. 

Andresen, I, p. 86. Nos. 9 and 10. 
Both after J. Raoux. First states. SupErRB PROOFS BE- 
FORE ALL LETTERS. VERY RARE. (2) 


BEAUVARLET, JACQUES FIRMIN 


95. L’Hymen er L’Amovr. Line-engraving. 


Not mentioned by Portalis and Beraldi. 
After F. Boucher. 


CLONE 


FINE IMPRESSION IN PERFECT CONDI- 


First Session, Monday Afternoon, April 12th 


% . 
BARTHEL BEHAM 
(One of the “Little Masters’) 
Born in Niirnberg in 1502. Died in Italy in 1540. “He has always been 
justly reckoned among the greatest artists of this group (the Little Mas- 
ters). His prints show a masterly knowledge of drawing, always correct 


and often full of grace, as well as a technic of wonderful softness and 
delicacy.”—Bartscu. 


BEHAM, BARTHEL 


96. Barrie or Nupe Men. Painter-engraving 
Bartsch, VIII. No. 16. 
UNUSUALLY FINE IMPRESSION. 
_ From the R. Scholtz Collection, and a duplicate from the 
Berlin Museum. 


BEHAM, BARTHEL 


97. Tue Tree Sxurtis. Painter-engraving. 1529. 
Bartsch, VIII. No. 27. 
First state. Very EARLY IMPRESSION BEFORE THE MONO- 
GRAM “B. P.” was CHANGED. 


BEHAM, BARTHEL 


98. Portrair oF Emprror CuHarues V. Painter-engraving. 

Bartsch, VIII. No. 60. 

First state. ExrreMELY FINE IMPRESSION BEFORE THE 

MONOGRAM. VERY RARE. 

From the Baron Von Lanna and Fritz Rumpf Collections. 
“J should be quite unworthy of confidence if, in my general preference 
for the etched over the engraved line, I did not give marked prominence 
to this triumph of the burin . . . Examined with a lens, it will be seen 
_that the lines composing this splendid portrait (which I have chosen as 
an example of the power and feeling of the artist) are not continuous 
and uninterruptedly incisive like the lines of Diirer, Goltzius, Faithorne, 
and the burinists generally; but that they are broken in their continuity 
in such a fashion as to deprive them of harshness, and to cause them to 
suggest, in a singular measure, the effect of color.”—Srymour Hanpen. 


BEHAM, BARTHEL 


99. Portrarr or Emperor Ferpinanp I.  Painter-engraving. 
1531. 
Bartsch, VIII. No. 61. 
(In the 29th year of his age.) First state. VERY FINE 
IMPRESSION BEFORE THE ADDRESS OF VAN DER HEYDEN. 
EXTREMELY RARE. 


First Session, Monday Afternoon, April 12th 
cb thse fe oii db alana sateen ence he a 


HANS SEBALD BEHAM 
(One of the “Little Masters”) 
Born in Niirnberg, 1500; died in Frankfort a|M 1550. 


BEHAM, HANS SEBALD 


100. Moses anp Aaron. Painter-engraving. 1526. 
Bartsch, VIII. No. 8. 


VERY FINE IMPRESSION. 


BEHAM, HANS SEBALD 


101. Jupirn. Painter-engraving. 1547. 
Bartsch,V Lil Now 1s 


VERY FINE IMPRESSION. 


BEHAM, HANS SEBALD 
102. Jon anp His Comrorters. Painter-engraving. 


Bartsch, VIII. No. 18. 


VERY BRILLIANT IMPRESSION. 


From the F. Debois Collection. 


BEHAM, HANS SEBALD 


103. Tue Vircin wirn A Parrot. Painter-engraying. 1549. 
Bartsch, VIII. No. 19. 
First state. VrEry FINE IMPRESSION, before the additional 
cross-hatching near the Virgin’s right foot. ‘THis Is ONE 
OF THE MASTER’S PRETTIEST PLATES, AND IS USUALLY CON- 
SIDERED TO BE-THE FINEST MADONNA HE ENGRAVED. 
From the R. Scholtz Collection. 


BEHAM, HANS SEBALD 


104. THe Feast at Cana. Painter-engraving. 
Bartsch, VIII. No. 23. 


First state. SupERB IMPRESSION AND EXTREMELY RARE. 
From the Count Archinto and R. Scholtz Collections. 


BEHAM, HANS SEBALD 
105. Curist SraNpING oN THE GuLoBE. Painter-engraving. 
Bartsch, VIII. No. 80. 
Second state. AN IMPRESSION OF THE VERY FIRST QUALITY. 
From the R. Scholtz Collection. 


First Session, Monday Afternoon, April 12th 


BEHAM, HANS SEBALD 


106. THE Propicat Son. Painter-engraving. 1540. 
Bartsch, VIII. No. 82. 


VERY FINE IMPRESSION BEFORE THE RETOUCH. 


BEHAM, HANS SEBALD 


107. THE Four Evaneeuists. Painter-engravings. 
' Bartsch, VIII. Nos. 55-58. 


BriLLIANT IMPRESSIONS. 


BEHAM, HANS SEBALD 


108. Justice or Emperor Tragsan. Painter-engraving. 1537. 
Bartsch, VIII. No. 82. 


BEHAM, HANS SEBALD 


109. THe JupemMentT or Paris. Painter-engraving. 
Bartsch, VIII. No. 89. 


SUPERB IMPRESSION. 


BEHAM, HANS SEBALD 


110. THe Lasors or Hercures. Painter-engravings. 
Bartsch, VIII. Nos. 96-107. 


A VERY FINE AND EVEN SET. (12) 


BEHAM, HANS SEBALD 


111. Lepa anp THE Swan. Painter-engraving. 1548. 
iramusens, 4VIII. No. 112. 


A VERY FINE IMPRESSION. 


BEHAM, HANS SEBALD 


‘112. Patience. Painter-engraving. 
Bartsch, VIII. No. 188. 
Second state (of six). VERY FINE IMPRESSION IN EXCEL- 
LENT CONDITION. 


From the R. Scholtz Collection. 


First Session, Monday Afternoon, April 12th 


BEHAM, HANS SEBALD 


113. DearH anp THE Youne Woman. Painter-engraving. 
Bartsch, VIII. No. 149. 
First state. In the later state there are four long blades 
of grass near the pot, which holds the lily, instead of three 
as in the present proof. A suPERB IMPRESSION. 


From the St. John Dent Collection. 


BEHAM, HANS SEBALD 


114. DearH anp A Nupr Woman. Painter-engraving. 


Bartsch, VIII. No. 150. 


BEHAM, HANS SEBALD 


115. Triumpn or Women. Painter-engraving. 
Bartsch, VIII. No. 143. 


First state. VERY FINE IMPRESSION. 
From the B. Keller Collection. 


BEHAM, HANS SEBALD 


116. AnorHEeR Impression or THE Same. Painter-engraving. 
Bartsch, VIII. No. 148. 


First state. E@uaLLy FINE. 
From the A. Morrison Collection. 


BEHAM, HANS SEBALD 


117. Eerptus Hersstmoon anp Simon Werxmoon.  Painter-en- 
graving. 
Bartsch, VIII. No. 158. 


From the set of months. BriiLiANT IMPRESSION. 


BEHAM, HANS SEBALD 


118. Peasants Ficurine. Painter-engraving. 
Bartsch, VIII. No. 162. . 
SUPERB IMPRESSION. EXTREMELY RARE IN THIS QUALITY. 


From the P. Gellatly Collection. 


BEHAM, HANS SEBALD 


119. “IcH witL aucn mir.” Painter-engraving. 
Bartsch, VIII. No. 176. 


First Session, Monday Afternoon, April 12th 


BEHAM, HANS SEBALD 
120. VicNETTE WiTH Satyrs. Painter-engraving. 
Bartsch, VIII. No. 225. 
From the A. Morrison Collection. 


BEHAM, HANS SEBALD 
121. VieNErTE witH a Currass anp Two Genu. Painter-engrav- 
hang. 
Bartsch, VIII. No. 227. 


From the A. Morrison Collection. 


BEHAM, HANS SEBALD — 
122. OrnamMENT (a mask on a cartouche supported by two Cupids). 
Painter-engraving. 
Bartsch, VIII. No. 228. 
First state. VERY FINE. 


BEHAM, HANS SEBALD 


123. Cupip as a JEsTER. Painter-engraving. 1542. 
Bartsch, VIII. No. 230. 


BEHAM, HANS SEBALD 
124. Ornament with ‘Two Genu. Painter-engraving. 


Bartsch, VIII. No. 236. 


VERY FINE IMPRESSION. 


From the J. P. F. Kalle Collection. 


CLAES (NICOLAES) PIETERSZ BERCHEM 


Born 1624; died 1688. He studied painting in Holland under Pieter de 
Grebber and Jan van Goyen, but it is doubtful whether any of his etchings 
are earlier than the period of his visit to Italy. 


BERCHEM, CLAES (NICOLAES) PIETERSZ 


125. THe Bac-Pirer anp THE Horseman. Painter-etching. 
Bartsch, V. No. 4. 
Usually called “Le Diamant.” First state. 
BEAUTIFUL IMPRESSION. Full of sunlight and atmosphere, 
before the name of the artist. 


From the A. Morrison Collection. 


First Session, Monday Afternoon, April 12th 


CHARLES CLEMENT BERVIC 
Born in Paris, 1756; died there, 1822. Pupil of J. G. Wille. 
BERVIC, CHARLES CLEMENT 


126. Tue Rare or Desanerra. Line-engraving. 
Apell, p. 56. No. 2. 
After Guido Reni. Second state. SUPERB PROOF BEFORE 
LETTERS, WITH THE REGISTRATION. Framed. 
Companion to No. 127. 


BERVIC, CHARLES CLEMENT 


127. Epucation or AcuiLuEs. Line-engraving. 
Apell,” p.- 5062 sNoers: 
After Regnault. First state without the registration. 
SUPERB PROOF BEFORE LETTERS. Framed. 
Companion to No. 126. 


BERVIC, CHARLES CLEMENT 


128. Laocoon. Line-engraving. 
Apell, p. 56. No. 4. 
After a drawing by Pierre Bouillon from the antique. 
Second state. Proof before all letters, with the cross-hatch- 
ing on the left pillar. Framed. 


“But Bervic’s masterpiece is undoubtedly his plate of the renowned antique 
group of the ‘Death of Laocoén and His Two Sons,’ engraved for the 
Musée Frangais, in which he appears to have rivaled the ‘suffering marble.’ 

. . Yet such was his modesty that when his task was done he complained 
of having been able but partially to realize his aims.”—Bryan. 


BERVIC, CHARLES CLEMENT 


129. Lovis XVI. _ Line-engraving. 
Apell, pb: 57s eNom 1G: 
After Callet. Fourth state. Karty IMPRESSION BEFORE 
THE PLATE WAS BROKEN. Signed by Bervic in pencil. 


Framed. 


“The full-length portrait of Louis XVI. in his coronation robes, after the 
portrait by Callet at Versailles, established the reputation which Bervic 
had obtained by the wonderful brilliancy and softness with which he re- 
produced in black and white the diverse tones and textures indicated in 
painting by the aid of color. Bervic kept pace with the revolutionary 
movement, and at one of the meetings of the ‘Société Populaire des Arts’ 
broke the copper plate of the king’s portrait, and tore in halves all the 
proofs of which he was possessed. The plate has since been skilfully re- 
paired by Chollet, and later impressions taken from it.”—Bryan. 


First Session, Monday Afternoon, April 12th 


JACOB BINCK 


(One of the “Little Masters’’) 


Born in Cologne about 1504 (or 1490); died in Koenigsberg (Prussia) 
1568 (1569). 


BINCK, JACOB 


130. Davin anv Barusesa. Painter-engraving. 
Bartsch, VIII. No. 6. 
From the Durazzo, Von Lanna and H. S. Hoskier Collec- 


tions. 


AUGUSTE JEAN BAPTISTE MARIE 
| BLANCHARD, Jr. 
Born in Paris, 1792; and died there, 1849. 
BLANCHARD, AUGUSTE JEAN BAPTISTE MARIE, Jr. 


131. BarrHotomé Estesan Muritxyo. Line-engraving. 
Apell, p. 66. No. 21. 
After himself. First state. Artist’s proof on India paper. 
VERY FINE. 


From the W. H. Daugherty Collection. 


ABRAHAM BLOOTELING 


Born at Amsterdam in 1634; died about 1698. 
BLOOTELING, ABRAHAM 


132. Apmirat Ecpert Mersz Korrenarr. Line-engraving. 
Dutuit, IV, pp. 52-53. 
After Van der Helst. Second state. SuPpERB IMPRESSION 
BEFORE THE worps “et excudit” were added after the 
word “‘sculpsit.” Framed. 


MAURICE BLOT 
Born in Paris 1753; died there, 1818. Pupil of Saint-Aubin. 
BLOT, MAURICE 


183. Le Verrov. Line-engraving. 
Portalis and Beraldi, I, p. 194. No. 4. 
After J. H. Fragonard. Second state. VERY FINE IM- 
PRESSION, AND RARE. \ 


First Session, Monday Afternoon, April 12t 


BLOT, MAURICE | 
134. Monsieur LE Davuputn ET Mapame, Finrie pu Ror. Line- 
engraving. : 
Portalis and Beraldi, I, p. 194. No. 5. 
After Mme. Le Brun. Tn1s 1s BLot’s PRINCIPAL AND 


MOST FAMOUS PLATE. 


SCHELTE A’ BOLSWERT 


Born at Bolswert about 1586; died at Brussels, 1659. One of the most 
important men of Rubens’ school. 


BOLSWERT, SCHELTE A’ 


1385. Tue CuHaszt or Meteacer anp AtTaLanta. Luine-engraving. 
Schneevoogt, p. 231. No. 3. 
After P. P. Rubens. 


FINE EARLY IMPRESSION. 


From the W. H. Daugherty Collection. 


GIULIO BONASONE 


Flourished from 1531 to 1574. His work, which comprises 350 plates, seems 
to have been done entirely in Rome. 


BONASONE, GIULIO _ 


1386. Scipio WounpDED. Hieeaane 
Bartsch, XV. No. 81) 
Framed. 


BONASONE, GIULIO 


1387. Youne Maw Suayine a Sea-Monster. Engraving. 
Bartsch, XV. No. 178. 


FINE OLD IMPRESSION BEFORE ANY ADDRESS. 


From the Baron Von Lanna Collection. 


BONASONE, GIULIO 


138. Porrrarr or MicnarL, ANGELO Buonarortt. Engraving. 
Bartsch, XV. No. 346. 


EARLY IMPRESSION. 


From the Count de Fries Collection. 


First Session, Monday A fternoon, April 12th 


LOUIS MARIN BONNET 
(Sous la Direction de) 
BONNET, LOUIS MARIN 


189. Le D&sEuNER pvE Fanran; “An! au’in Est sou.’ Color-en- 
gravings. 
Both after Vangorp. Engraved by Malles. Very Fine 
IMPRESSIONS, WITH THE FULL MARGIN, SHOWING THE REG- 
ISTRY MARKS. (2) 


BONNET, LOUIS MARIN 


140. Lapy Drinxine Correr 
Very fine color-print of unusual freshness, with the gold 
border. No margin. ExcrssIvELy RARE. 
Companion to No. 141. 


BONNET, LOUIS MARIN 


141. THe Mitxmarp 
Very fine color-print, with the gold border. Of the same 
quality as the foregoing. No margin. ExcrssIveLy 
RARE. 
Companion to No. 140. 


BONNET, LOUIS MARIN 


142. La CHEVRE BIEN AIMEE; Le Perit Cavauier; LE coe sECoURU. 
COLOR PRINTS OF GREAT BEAUTY. ‘The last one with uncut 
margin, and of unusual freshness. (3) 


BONNET, LOUIS MARIN 


143. Le Revert pe Venus. Color-engraving in crayon-manner. 
After F. Boucher. BErAuTIFUL IMPRESSION IN FIVE COLORS 
on bluish paper. ExrreMELY rare. The print has been 
laid down and by taking it off the mount the paper has 
been skinned on the back in several places. 


BONNET, LOUIS MARIN 


144. Vénus eT Amour. Color-engraving in crayon-manner. 
After F. Boucher. BEAUTIFUL IMPRESSION IN FIVE COLORS 
on bluish paper. EXTREMELY RARE OF SUCH QUALITY. 


First Session, Monday Afternoon, April 12th 


G. H. BOUGHTON, (a.2.4.) 


End of nineteenth century. 


BOUGHTON, G. H. (A.R.A.) 


145. Rerurn oF THE MAYFLOowER. 
Engraved by J. J. Chant. Mixed manner. First state. 
Proof before all letters, on India paper, signed by the 
painter. Framed. 


MARIANO BOVI 
Flourished in London from 1786 to 1791. 


BOVI, MARIANO 


146. Arr; Nature. Stipples. 
Both after J. B. Cipriani. BEAUTIFULLY PRINTED IN 
coLors and with a border from an extra plate. VERY 
RARE. Framed. (2). 


BOVI, MARIANO 


147. Cornevia, Motruer or THE Graccut. Stipple. 
After Titian. Frye mpression In coxtors. Framed. 


FELIX BRACQUEMOND 


Born in Paris, 1833. ‘“Bracquemond has had all the medals. - He was 
decorated in 1882. In 1884 he obtained the highest award, the Medal of 
Honor, to which was added the satisfaction of hearing it said, on all sides, 
that he should have received it long ago and more than once.”—HeEnr1 
BERALDI. 


BRACQUEMOND, FELIX 


148. Porrrair or Mons. Epmonp pE Goncourt. Etching. 
Beraldi. No. 54. 
From life. Signed artist’s proof on Japanese paper. ONE 
OF THE ENGRAVER’S FINEST PLATES. Framed. 


From the W. S. Carter Collection. 


First Session, Monday Afternoon, April 12th 


BRACQUEMOND, FELIX 


149. Le Virux Coe. Painter-etching. 
Beraldi. No. 222: 
First state. Signed artist’s proof on Japanese paper, be- 
fore the verses in the upper left corner. VERY FINE AND 
RARE. 


“Un des pieces capitales de loeuvre.”—BeEratnt1. 
“Certainly a triumph at once of technique and of character.”—Wepmonre. 


DONATO BRAMANTE 


Born near Urbino 1444, and died in Rome 1514. Passavant mentions 
only three engravings by this master. 


BRAMANTE, DONATO 


150. Propuer Natuan Biesstne Davin. Painter-engraving. 
Passavant, V. No. 3. 
SUPERB IMPRESSION AND RARE. 


From the G. D. de Arozarena and Baron Von Lanna 
Collections. 


GIOVANNI ANTONIO DA BRESCIA 


Flourished in Rome between the years 1500 and 1516. 
BRESCIA, GIOVANNI ANTONIO DA 


151. THe Hoty Famity, wirn Sr. Joun. Engraving. 
Bartsch, XIII. No. 5. 


After a design by A. Mantegna. VERY RARE AND FINE. 


From the J. Reiss and F. Bullard Collections. 


BRESCIA, GIOVANNI ANTONIO DA 


152. A Woman Warerine Aa Puant. Line-engraving. 
Bartsch, XIII, p. 329. No. 21. Passavant, V, p. 106. 
No. 19. 


GooD EARLY IMPRESSION. 


From the J. S. Morgan Collection. 


First Session, Monday Afternoon, April 12th 


T. BROOKS 
BROOKS, T. 


153. Tue First Lesson. Engraving in mixed manner. 
After J. Bateman. Proof before all letters, on India 
paper. Framed. 


JOHN BROWNE 
Born at Norwich 1741; died in London 1801. 


BROWNE, JOHN 


154. A LanpscaPE WITH THE Baptism OF THE fox A Lanp- 
SCAPE WITH CEPHALOS AND Procris. Line-engravings. 
Andresen, I, p. 193. Nos. 2 and 4. 
Both after Claude Gellée. From the Boydell Gallery. 
First states. FINE PROOFS BEFORE THE LETTERS WITH 
THE COAT-OF-ARMS. Framed. 


From the W. H. Daugherty Collection. (2) 


ADAM BUCK 
Worked between the years 1795 and 1833. 
BUCK, ADAM 


155. Ripe on a Horse To Bansury Cross; Ripe on Pick Bacx, My 
Daruine. Stipples. 
A pair of open letter proofs, nicely printed in colors. (2) 


BUCK, ADAM 


156. Wuat’s Tuat, Motruer? Stipple. 
After A. Buck. Engraved in conjunction with J. S. Agar. 
Very nicely printed in colors. Rare. 


First Session, Monday A fternoon, April 12th 


FELIX BUHOT 


Born at Valognes, 1847; died in Paris, 1898. “The technic of Buhot is as- 
suredly far from being simple. But he is free. He is not the slave of 
rules and formulas; he has not the least respect for arbitrary laws; he 
blends and mixes all the different means used for obtaining effects in 
black and white—whether by cutting into or corroding the plate. He is 
not the slave of any one implement. For Buhot would not understand 
the traditional distinction made between a line-engraver, an etcher, or a 
worker in dry-point, nor of all those good people who separate and group 
themselves according to the end at which they break the egg they are 
going to eat! . . . Let us say at once that Buhot—painter and etcher— 
is above all a poet. The world at large cannot fail to admire the form 
of his message, his vocabulary and syntax—that is to say, the means by 
which he expresses himself.”—Ltonce Bitnenrte. 


BUHOT, FELIX 


157. Les Voystns pe Campacne. Painter-etching. 
Bourcard. No. 148. 
Second state (of 5). Very FINE IMPRESSION. 
From the etcher’s own collection. 


SIR HENRY BUNBURY 
BUNBURY, SIR HENRY 


158. THE Movse’s Petition. Stipple. i 
Engraved by Francesco Bartolozzi. Delicately printed in 
colors. Besides its artistic qualities this print is inter- 
esting because it bears the portrait of a celebrated scientist 
—Priestley—the discoverer of oxygen. Framed. 
Companion to No. 159. 


_ BUNBURY, SIR HENRY 


159. Marton. Stipple 
Engraved by Peltro W. Tomkins. Fine coror-print. 
Companion to No. 158. 


JOHANNES BURGER 


Born at Burg (Switzerland) 1829—? Pupil of Thaeter. 
BURGER, JOHANNES 


160. Frora. Line-engraving. 
Apell, pp. 78-80. 
After Titian. In the Uffizi Gallery. First state. Artist’s 
proof on India paper, signed by the engraver. Framed. 
From the W. S. Carter Collection. 


First Session, Monday Afternoon, April 12th 


HANS BURGMAIR 


Born at Augsburg 1473; died there about 1531. 
BURGMAIR, HANS 


161. Emperor Maxmuiian anp His Counsetztors. Woodcuts. 
Soldiers kneeling before the emperor. From “* Der Weiss 
Kunig.” VERY FINE IMPRESSIONS. 


From the Henry Huth Collection. 


These two wood-cuts are part of a series which was executed under the 
direction of Hans Burgmair, in honor of Emperor Maximilian, called “Der 
Weisskunig.” <A few of the blocks are signed with the initials “H. B.” 
and it seems probable that these blocks are by Burgmair himself. This 
probability is further strengthened by the fact that the blocks marked 
“H. B.” are more artistic and finer than the others. Early proofs of these 
blocks are extremely rare. These two examples come from the Huth col- 
lection, but before the Huth sale only four or five separate sheets of the 
original printing had come into the market for many years. 


THOMAS BURKE 


Born in Dublin, 1749; died in London, 1815. 
BURKE, THOMAS 


162. Cuprp Binpinc Acuata TO A LAvuREL; Curip Disarm’p By Ev- 
PHROSINE. Stipples. 

Both after Angelica Kauffmann. Open letter proofs 

printed in red with large margins. A VERY FINE PAIR. 


(2) 


BURKE, THOMAS 


163. Lapy Rusuyour anp Daveurer. Stipple. 
After Angelica Kauffmann. Proof before all letters 
printed in brown. ExcEEDINGLY FINE PROOF OF THIS 
LOVELY PORTRAIT. Framed. 


Daughter of Humphrey Bowles, Esq., of Wanstead. Wife of John Rushout, 
created Lord Northwich; died 1818. 


ALEXANDRE CALAME 
Born, 1810; died, 1864. 
CALAME, ALEXANDRE 
164. Lanpscarr. Geneve, 1845. 
Proof on India paper. 
From the W. H. Daugherty Collection. 


~CALLOT, 
165. 


Second Session, Monday Evening, April 12th 


JACQUES CALLOT 


Born at Nancy in 1592; died in 1635. Meaume in his catalogue of Callot’s 
etchings says: “Callot is one of the glories of the national school. As 
an etcher he has never been surpassed, nor even equalled, and indeed France 
has always considered as one of the fairest flowers of her crown of art the 
famous engraver in Nancy.” 


JACQUES 


Tue Marryrpom or Sr. Sepastian. Painter-etching. 
Meaume. No. 187. 
First state. SUPERB IMPRESSION IN PERFECT CONDITION, 
BEFORE THE ADDRESS OF IsrAEL SYLVESTRE. 


From the Baron Von Lanna Collection. 


DAVID YOUNG CAMERON 


Contemporary Painter-Etcher of high merit. “Mr. Cameron is the son 
of a Scotch clergyman and resides with his father in Glasgow. He is a 
Fellow of the Royal Society of Painter-Etchers, and probably the youngest 
member of that distinguished body. Sir Francis Seymour Haden, its presi- 
dent, writes of Mr. Cameron with an enthusiasm which is unusual with 
him—hailing him as a hopeful successor to the masters of the previous 
generation, and cordially recognizing in his work that precious gift of 
personality without which all mere technical skill is in vain. In examin- 
ing Mr. Cameron’s etchings it is not easy to designate his forte. Meryon 
etched picturesque buildings magnificently, but his portraits are simply 
bad. Whistler has triumphed in a wider field, but he seems to care 
nothing for the restful charms of rural landscape—where Seymour Haden 
is supreme. Mr. Cameron (though we hope his best work is still to 
be done) already shows himself equally at home when delineating pure 
landscape, views of buildings and shipping, interiors, or portraits.”—Frep- 


ERICK KEPPEL. 


CAMERON, DAVID YOUNG 


166. 


RempBranpr’s Farm (one of the Dutch series). Painter-etch- 


ing. 
Wedmore. No. 62. 
Signed artist’s proof on old laid paper. The plate de- 


stroyed. VERY FINE AND RARE. 


From the Tracy Dows Collection. 


First Session, Monday Afternoon, April 12th 


CAMERON, DAVID YOUNG 


167. St. Marxs; Venice. Painter-etching. 
Wedmore. No. 74. 
First state; signed proof on laid paper marked by the 
artist: “First state. 40 proofs.” VERY FINE AND EX- 
TREMELY RARE. ‘THIS PLATE IS RANKED AS THE FINEST OF 
THE SEVERAL PLATES THE ARTIST HAS ETCHED OF ST. 
Marks. 


From the Tracy Dows Collection. 


CAMERON, DAVID YOUNG 


168. ABBAZIA 
Wedmore. No. 1383. 
Signed artist’s proof on Japanese paper. A BRILLIANT, 
BUT HARMONIOUS IMPRESSION; the plate enriched with dry- 
point. Framed. 


CAMERON, DAVID YOUNG 


169. Paxtace oF Joannis Darius, Venice. Painter-etching. 
Wedmore. No. 137. 
Signed proof on thin Japanese paper. SwupPERB IMPRES- 
SION OF THIS EXTREMELY RARE AND BEAUTIFUL PLATE. 


From the Tracy Dows Collection. 


Mr. Cameron rarely prints more than thirty-five proofs from any of his 
plates. 


CAMERON, DAVID YOUNG 


170. E_cHo-on-THE-Tay, SCOTLAND. Painter-etching. 
Wedmore. No. 140. 
Signed proof on heavy Japanese paper. SvuPERB IMPRES- 
SION AND VERY RARE. 


From the Tracy Dows Collection. 


First Session, Monday Afternoon, April 12th 


DOMENICO CAMPAGNOLA 


Born at Padua about 1482 and worked there in the earlier half of the 
sixteenth century. “Brought up in the school of Titian, Domenico soon 
attained a proficiency that even aroused the jealousy of his master. He 
holds an eminent rank as an engraver and his etchings are executed in 
a style which shows the hand of the master.”—Bryan. 


CAMPAGNOLA, DOMENICO 


171. Pentecost. Painter-engraving. 
Bartsch, XIII. No. 3. 
Early impression printed in light brown ink. Very Rare. 
From the G. M. Marchetti and the unidentified Fagan 
No. 118 Collections. 


CAMPAGNOLA, DOMENICO 


172. Tue Viren Aporep sy Saints. Painter-engraving. 
Bartsch, XIII. No. 5. 


FINE IMPRESSION; in good condition. 


CAMPAGNOLA, DOMENICO 


173. ANOTHER IMPRESSION OF THE SAME 
A BRILLIANT IMPRESSION; RARE IN SUCH QUALITY. 


From the M. M. Sykes, W. Esdaile, J. Reiss and J. S. 
Morgan Collections. 


CAMPAGNOLA, DOMENICO 


174. Tue Musicat Sueruerns. Painter-engraving. 
Iparesen, ATIT. No.9. 
Believed to have been done in collaboration with Giulio 
Campagnola. The figures in the foreground have the free 
style which characterizes the work of Domenico, while the 
background is entirely in the style of Giulio. VeERy FINE 
AND EXTREMELY RARE. 


From the Baron Von Lanna Collection. 


CAMPAGNOLA, DOMENICO 


175. Nupe Femae, Prosasty REPRESENTING VENUS, RECLINING IN 
A Lanpscare. FPainter-engraving. 
Passavant. 11. Unknown to Bartsch and Nagler. 
VERY FINE, AND OF THE GREATEST. RARITY. 


First Session, Monday Afternoon, April 12th 


GIULIO CAMPAGNOLA | } 


Born at Padua, about 1488. Worked in Ferrara and Venice until about 
1514. “He was the only man of this group who succeeded in building up | 
a technical style of' his own. He was much influenced by Direr and | 
Giorgione as well as by Mantegna.” 


CAMPAGNOLA, GIULIO 


176. Curist AND THE Samariran Woman. Painter-engraving. 
Bartsch, XIII. No. 2. 


VERY FINE AND RARE. 


From the Count Enzenberg, .Mary Jane Morgan and 
Griggs Collections. 


“Many of his compositions, especially ‘Christ and the Samaritan Woman,’ 
with the poetical island landscape, show in the graceful lines of the figures 
the closest relation to Giorgione’s work. Technically he was very original, 
using short, sometimes curving strokes, combined with masses of dots to 
express his shadows. In some cases, as in ‘John the Baptist,’ he used the 
points alone.”—KRrisTELLER. 


CAMPAGNOLA, GIULIO 


177. St. Joun THE Baptist. Engraving and dotted work. 
Bartsch, XIII. No. 8. 
SUPERB IMPRESSION IN PERFECT CONDITION \SHOWING THE 
PRINTER’S ADDRESS. EXCESSIVELY RARE. | 


Impressions without this address are cut above it. None 
are known to exist without it, showing the full size of the 
plate. _ 


From the J. S. Morgan Collection. 


CAMPAGNOLA, GIULIO 


178. GanymeprE. Painter-engraving. 
Bartsch, XIII. No. 5. 
First state. Beautiful, strong impression before the word 
““Antenoreus” had been added to the name of the artist. 
OF THE UTMOST RARITY. 


From the Pierre Mariette, 1670, J. Reiss and J. S. Mor- 
gan Collections. 


Hind and Kristeller mention only two impressions of the first state (Munich 
and Vienna), while the London, Paris and Berlin specimens are all of 
the second state. 


First Session, Monday Afternoon, April 12th 


CAMPAGNOLA, GIULIO 


179. Tuer Astrotocer. Engraving and dotted work. 
Bartsch, XIII. No. 8. Copy C. Kristeller II. Hind 6. 
Second state. AN IMPRESSION OF THE GREATEST BEAUTY, 
with the dotted work, but before the inscription “Ludo- 
vicus Longus Matheseos professor,” before the number 
193” and before the date “1509” was changed to “1569.” 


Hind and Kristeller mention three states of this print. The first, of which 
only one impression (Berlin) is known, is in pure engraving, before the 
dotted work. The second shows that work so peculiar to Giulio Campagnola, 
who was the first to apply it. The third state contains the inscription 
mentioned above. 


ANTONIO CANALE (Also Called CANALETTO) 


Born in Venice, 1697; died there, 1768. “His etchings are few (31 in all) 
and show the same command of aerial perspective that marks his painting. 
He uses the simplest system of shading in parallels, giving to his lines a 
slight but regular sinuosity which suffuses the atmosphere with a sense of 
misty heat. 
“To the achievement of his aim of expressing buildings in bright sunshine, 
he sacrifices all idea of rendering the quality of material; his stone never 
loses its essential character, but in the purely landscape form of his 
work, his tendency is towards the fusion of the varying elements.”—Hinp. 


CANALE, ANTONIO 


180. Four Smatu Views or Venice. Painter-etchings. 
First state. SupERB IMPRESSIONS. 


From the P. Gellatly Collection. (4) 


CANALE, ANTONIO 


181. Tur Larcr Views or Venice. Painter-etchings. 

Mestre. De Vesne, No. 8. First state; An Doro. De 
Vesne, No. 4. First state; La Brenta. De Vesne, No. 9. 
First state. VERY FINE IMPRESSIONS BEFORE THE LETTERS 
IN THE LOWER MARGIN NEAR THE RIGHT CORNER; ON CUrI- 
ous white paper with very thick water lines. All the fine 
Canalettos appear on this paper and it is only this which 
produces such peculiar brilliancy of effect, and renders his 
prints so attractive. (38) 


First Session, Monday Afternoon, April 12th 


PIERRE CHARLES CANOT 


Born in Paris, 1710. died in England, 1777. 
CANOT, PIERRE CHARLES 


182. Tue Tempest. Line-engraving. 1773. 
Andresen, I, p. 226. No. 2. 
After S. de Vlieger. From the Boydell Gallery. First 
state. VERY FINE PROOF WITH THE ARTISTS’ NAMES IN 
SCRATCHED LETTERS AND WITH THE COAT-OF-ARMS. Framed. 


From the W. H. Daugherty Collection. 


GIOVANNI JACOPO CARAGLIO 


“Giovanni Jacopo Caraglio, an Italian designer and engraver, was born 
at Parma in 1498 or 1500, and was a pupil of Marcantonio Raimondi. 
His drawing is very correct; he gives a fine expression to his heads, and 
his extremities are marked in a masterly manner. Caraglio holds an emi- 
nent rank among the engravers of his country.”—Bryan. 


CARAGLIO, GIOVANNI JACOPO 


183. THE BatTLe oF THE BuCKLER AND THE Lance. Engraving. 
Bartsch, XV. No. 59. 
After Raphael. Five oLp ImMPREssION. 


From the D. G. de Arozarena and A. Morrison Collec- 


tions. . 


“Cette estampe est une des plus considerables de lceuvre de Caraglio et 
une des plus parfaites qui ait été exécutée d’apres Raphael.”—Bartscu. 


AGOSTINO CARRACCI 


Born at Bologna, 1557; died at Parma, 1602. An older brother of Annibale 
and nephew of Lodovico Carracci. At an early date he went to Venice, 
where he had an opportunity of perfecting himself under Cornelius Cort, 
by whose instruction he became one of the most distinguished engravers 
of his country. 

“As an engraver Agostino is to be ranked amongst the most celebrated 
artists of Italy. The correctness of his design is only equalled by the 
beauty of his execution, and his plates would have nearly reached perfec- 
tion if he had paid more attention to the effect of chiaroscuro. They ap- 
pear to have been executed entirely with the graver, in a bold, free style, 
nearly resembling that of his instructor, Cornelis Cort. The expression 
of his heads is admirable.”—Bryan. 


CARRACCI, AGOSTINO 
184. Pan Tamep sy Curip. Etching. 


Bartsch, VIII. No. 116. 
Framed. 


First Session, Monday Afternoon, April 12th 


CARRACCI, AGOSTINO 


185. Porrrair or Titian. Painter-engraving. 1587. 
Bartsch, XVIII. No. 154. 


GOOD OLD IMPRESSION. RARE. 


ANNIBALE CARRACCI 


Younger brother of Agostino. Was born at Bologna, 1560, and died at 
Rome, 1609. This great artist engraved a number of plates so diverse 
‘in style that it is difficult to imagine them to be the work of the same 
master. 

“The first pieces, engraved at a time when Annibale was 21 or 22 years 
of age, are executed with the burin and in a very careful, pains- 
taking manner which gives them a certain resemblance to the work of 
his brother, Agostino, with whom, in- fact, he was for a long time con- 
fused. Later on, about the year 1592, he took to etching and employed 
the burin only for reinforcing his shadows and bringing his work to- 
gether.”—Barrscu. 


CARRACCI, ANNIBALE 


186. SusANNAH AND THE Epers. Painter-etching. 
Bartsch, XVIII. No. 1. 


FINE OLD IMPRESSION, WITH PIERRE MARIETTE’S SIGNATURE. 


CARRACCI, ANNIBALE 


187. THe Curist or Caprarora. Etching and engraving. 1597. 
Bartsch, XVIII. No. 4. 
(The Virgin, St. Magdalen and St. John weeping over 
the dead body of Christ, after Caprarola.) Third state. 
VERY FINE ImPREsSION before “Nie. van Aelst for.” was 
added to the inscription. 


From the Duke of Aremberg Collection. 


“Sometimes he used a fine point, very delicate and intermingled with dry- 
point and burin, as in “The Holy Family,” but above all in “The Christ of 
Caprarola,’ in which the admirable expression of the drawing and the 
picturesque technique have always caused us to regard it as Carracci’s 
masterpiece.”’—Barrscu. 


First Session, Monday Afternoon, April 12th 


THEOPHILE NARCISSE CHAUVEL 


Born at Paris, 18381; died —. ‘“‘Chauvel est le véritable graveur de paysage; 
et il a élevé la gravure de paysage a la hauteur de cette chose spéciale qu’on 
appelle un estampe. Personne n’a gravé mieux que lui Daubigny, Jules 
Dupré, Théodore Rousseau. Les planches d’aprés ces maitres sont d’un 
rendu saisissant.”—BERALDI. 


CHAUVEL, THEOPHILE NARCISSE 
188. Souirupe. Etching. 
Delteil, No. 94. 
After Daubigny. First state. Signed artist’s proof on 
vellum. Limited to 100 impressions. IN THE OPINION OF 
MANY CONNOISSEURS THIS IS THE MOST BEAUTIFUL OF RE- 
PRODUCTIVE LANDSCAPE ETCHINGS. Framed. 


From the W. S. Carter Collection. 


CHAUVEL, THEOPHILE NARCISSE 
189. Lz Lac. Etching. 
Delteil, No. 1238. 


After Corot. First state. Signed artist’s proof on vel- 
lum. Limited to 150 impressions. Framed. 


From the W. S. Carter Collection. 


THOMAS CHEESMAN 


Born in London, 1760; died there about 1834. 
CHEESMAN, THOMAS 


190. Lapy Hamitron as “THE Sprnster.”  Stipple. 
After George Romney. Bri_LiANT PROOF BEFORE THE 
TITLE WITH THE ARTISTS’ NAMES AND PUBLICATION LINE 
onty. Finely printed in rich brown. 


FRANCOIS CHEREAU, L’aIne 


Born in Blois, 1680; died in Paris, 1729. Pupil of Pierre Drevet, and who 
proved himself worthy of his master. 


CHEREAU L’AINE, FRANCOIS 


191. Nicouas pE Lareiturre. Line-engraving. 
Portalis and Beraldi, I, p. 383. No. 19. 


After his own painting. ExrrEMELY FINE IMPRESSION, IN 
PERFECT CONDITION. 


First Session, M onday A fternoon, April 12th 


PIERRE PHILIPPE CHOFFARD 


Born in Paris 1780; died there 1809. Follower of N. Edelinck, Baléchon - 
and Cochin. “His work was animated, yet exact; his point interesting and 
spirited; his burin . . . transparent and light; and he had the most 
unerring taste and the most extraordinary facility—qualities of an artist 
of the first order.”—Porratis. 


CHOFFARD, PIERRE PHILIPPE 


192. Les Amovurs Cuampétrres. Line-engraving. 
Portalis and Beraldi, I, p. 428. No. 2. 
After P. Baudouin. FINE impression. Framed. 


LAMBERTUS ANTONIUS CLAESSENS 


Born in Antwerp, 1764; died at Ruil, near Paris, 1834. Pupil of F. 
Bartolozzi. 


CLAESSENS, LAMBERTUS ANTONIUS 


1938. Tur Descent rrom THE Cross. Line-engraving. 
Apell, p-.95. No. 4. 
After P. P. Rubens. The great altar-piece in the Cathe- 
dral of Antwerp. First state. SupERB PROOF BEFORE ALL 
LETTERS, IN EXCELLENT CONDITION. Framed. 


From the W. S. Carter Collection. 


GEORGE CLINT 
Born in London, 1770; died, 1854. 
CLINT, GEORGE 


194. Wittiam Pirr. Mezzotint. 1806. 
After John Hoppner. Open letter proof with the publi- 


cation line and two lines of the title. 


CLINT, GEORGE 


195. Miss ARABELLA JANE Wiitmor. Mezzotint. 
After John Hoppner. Proof before all letters, with good 


margins. VERY FINE IMPRESSION OF UNUSUAL QUALITY. 


COLORED PRINTS 
COLORED PRINTS 


196. Fisner Girt—Nuvrse Girt. Line-engravings. Oval. 
Nicely printed in colors. Framed. 


First Session, Monday Afternoon, April 12th 


JOHN CONDE 


Worked in the latter part of the eighteenth century. 


CONDE, JOHN 


197. Mrs. FirzHersert. Stipple. 
After Richard Cosway. Proof before letters. VERY FINE. 


Framed. 


Maria Anne, daughter of Walter Smythe, Esq., of Brambridge. Born 1756; 
married first Edward Weld of Lulworth, second Thos. Fitzherbert; was 
twice a widow before she was twenty-five years old. Privately married to 
Prince George of Wales at Carlton House, 1785; died at Brighton, 1837. 


CONDE, JOHN 


198. Sicnora Storace as EvpHrosyne. Stipple. 
After De Wilde. Britiianr IMPRESSION PRINTED IN 
BROWN. 
From the Royal Collection at Windsor. 


CONDE, JOHN 


199. Mrs. Ticket1i. Stipple. 
After Richard Cosway. FINE IMPRESSION IN BLACK, IN 
PERFECT CONDITION. 


JACQUES LOUIS COPIA 


Born in London, 1764; died there, 1799. Friend of Prudhon. 


COPIA, JACQUES LOUIS 


200. THe Green Prior; THE Grove 
Portalis and Beraldi, I, p. 587. Nos. 14 and 15. 
Both after N. Lavreince. Proofs before all letters on 
paper with uncut edges. (2) i 


JACQUES COUCHE 


Born at Gournay, 1750. Pupil of Le Vasseur. 
COUCHE, JACQUES 


201. La Coaverre Fixtr. Line-engraving. 
Portalis and Beraldi, I, p. 595. No. 4. 
After J. H. Fragonard. Fine o1p impresston. Framed. 


First Session, Monday Afternoon, April 12th 


SAMUEL COUSINS 


Born in Exeter in 1801; died in London, May 7, 1887. Pupil of S. W. 
Reynolds. 
“Un des meilleurs graveurs anglais de ce siécle.’—Hernri Brratnt. 


COUSINS, SAMUEL 


202. PENELOPE BoorHsy. Mezzotint. 
Whitman. No. 22. 
After Sir Joshua Reynolds. First state. Signed artist’s 
proof on India paper. Framed. 


' Miss Penelope Boothby, 1785-1791. Daughter of Sir Brooke and Dame 
Susannah Boothby. 


COUSINS, SAMUEL 


203. Mrs. Brappyityu. Mezzotint. 
, Whitman. No. 25. 
After Sir Joshua Reynolds. State B. Artist’s proof on 
India paper, signed by the engraver. PRIVATE PLATE AND 
CONSEQUENTLY VERY RARE. ONE OF THE ENGRAVER’S FIN- 
EST works. Framed. 


Jane Gale married her cousin, Wilson Gale Braddyll, Louishead. Died 
1819. 


COUSINS, SAMUEL 
204. Beatrice Cencrt. Mezzotint. 
Whitman. No. 35. 
After Guido Reni. Second state. Proof with the artist’s 
name and the publication line only. ExcEEDINGLY FINE. 


- COUSINS, SAMUEL 

205. Miss Rosamonp Croxer. Mezzotint. 
Whitman. No. 49. 
After Sir Thomas Lawrence. Second state. Proof before 
letters, signed by the engraver. VERY FINE AND RARE, 


COUSINS, SAMUEL 


206. Lapy Dover anv Cuitp. Mezzotint. 
Whitman. No. 52. 
After Sir Thomas Lawrence. Third state. Script letter 
proof. Very rine. Framed. 


Georgiana, Baroness Dover, born 1804, Daughter of the 6th Earl of 
Carlisle, wife of Agar Ellis, Baron Dover. 


First Session, Monday Afternoon, A pril 12th 


COUSINS, SAMUEL 


207. Lapy Gray AND CHILDREN. Mezzotint. 18381. 
Whitman. No. 75. 
After Sir Thomas Lawrence. First state. Proof with 
the artists’ names in small open letters. Framed. 


From the W. H. Daugherty Collection. 


COUSINS, SAMUEL 


208. Master Lampron. Mezzotint. 
Whitman. No. 98. 
After Sir Thomas Lawrence. Second state. Proof with 
the artists’ names and publication line in italics. VeEry 
FINE AND RARE. Framed. 


Master C. W. Lambton, 1818-1831. Son of the First Earl of Durham. 


COUSINS, SAMUEL 


209. Srr Tuomas Lawrence. Mezzotint. 
Whitman. No. 100. 
After his own painting. Second state. Proof before let- 
ters. VERY FINE. 


COUSINS, SAMUEL 


210. La Surprise. Mezzotint. 
Whitman. No. 199. 
After Dubufe. Second state. Proof with the artists’ 
names only. Framed. 


COUSINS, SAMUEL 


211. Sunsuine or Love. Mezzotint. 
Whitman. No. 225. 
After J. Raoux. First state. SupERB PROOF BEFORE 
LETTERS. Framed. 


COUSINS, SAMUEL 


212. Tue Acs or Iynocence. Mezzotint. 
Whitman. No. 226. 
After Sir Joshua Reynolds. Second state. Signed artist’s 
proof. Very rine. Framed. 


First Session, Monday Afternoon, April 12th 


LUCAS CRANACH (the elder) 


Born at Kronach, near Bamberg, 1470; died at Weimar, 1553. He served 
more than sixty years as painter to the Court of Saxony, during the life- 
time of Frederick the Wise and the two succeeding kings. The great 
majority of his designs were engraved on wood, but there exist also a 
few pieces on copper by him. 


CRANACH, LUCAS (the elder) 
213. Tue Penance or St. Joun Curysostom. Painter-engraving. 
: 1509. 
Bartsch, VII. No. 1. 
VeRY FINE IMPRESSION. Framed. 
From the Amann Collection. 


This engraving shows a purely German tendency, recalling the work of 
Altdorfer and one or two of the very earliest plates by Diirer. The rocky. 
mountainous country and the pine forests to the south of Dresden probably 
inspired the background. 


CRANACH, LUCAS (the elder) 


214. ANoTHER IMPRESSION OF THE SAME 
FINE IMPRESSION IN PERFECT CONDITION. 


From the H. S. Theobald and William Bell Scott Collec- 


tions. 


SECOND SESSION 
MONDAY EVENING, APRIL 12, 1915 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8.15 O'CLOCK 


Catalogue Nos. 215 to 442 inclusive 


UGO DA CARPI 


(A member of the noble family Panico) 
DA CARPI, UGO 


215. Tur Descent yrom THE Cross. Wood-cut in chiaroscuro. 
Bartsch, XII, p. 43. No. 22. 
After Raphael. First state. ExrrReEMELY FINE EARLY 
IMPRESSION WITH THE ENGRAVER’S NAME. 


JEAN DAMBRUN 


Born in Paris, 1741; died after 1808. 

“He was one of a small band of artists, to whom are due the vignettes 
which adorn many of the books issued towards the close of the XVIIIth 
century, which have of late become of such fabulous value.”—Bryan. 


DAMBRUN, JEAN 
216. La Liserré Prerpur; L’Erousr Mat Garver. Line-engrav- 
ings. 
Not mentioned by Portalis and Beraldi, I, pp. 622-6238. 
Both after Le Brun. (2) 


JEAN DAULLE 


Born at Abbeville, 1703; died in Paris, 1763. 


DAULLE, JEAN 
217. CaTHERINE Micnarp. Line-engraving. 1735. 
Andresen, I, p. 380. No. 22. 


After P. Mignard. Second state. Fine impression with 
the address “Place de Cambray.” Framed. 


Second Session, Monday Evening, April 12th 


DAULLE, JEAN 


218. Jean-Baptiste Rousseau. Line-engraving. 
: Portalis and Beraldi, I, p. 677. No. 105. 
After J. Aved. First state. BriLLiaNnT PROOF BEFORE 
THE INSCRIPTION. VERY RARE. 


From the W. Lawson Collection. 


JOHN DEAN 
Born about 1750; died about 1805. 
DEAN, JOHN 


219. Mercury. Mezzotint. 
After Sir Joshua Reynolds. First published state. Proof 
with the artists’ names in scratched letters; plate mark 
cut off at bottom. 


JOHANN THEODOR DE BRY (the younger) 
Born at Liittich, 1561; died in Frankfort a|M., 16238. 7 
DE BRY, JOHANN THEODOR (the younger) 


220. Sotpiers Marcuine Catutep “THe TriumpH or Datu.” 
Engraving. 
Andresen, I, p. 200. No. 12. 


VERY FINE, EARLY IMPRESSION. 


DE BRY, JOHANN THEODOR (the younger) 


221. Desiens ror Bretrcuases; Designs ror Scissors Caszs. Paint- 
er-engravings. 
FINE iMPREssIONS. (2) 


DE BRY, JOHANN THEODOR (the younger) 
222. Portrrair or THEopor pE Bry. Engraving. 
Possibly by Boissard. VERY RARE. 
From the Hampton L. Carson Collection. 


Second Session, Monday Evening, April 12th 


THEODOR DE BRY 


Born at Liittich, 1528; died in Frankfort a|M., 1598. 
DE BRY, THEODOR 


223. Pripe anp Fouty. Painter-engraving. 
Andresen, I, p. 200. No. 2. 


‘ BRILLIANT IMPRESSION. 


PHILIBERT LOUIS DEBUCOURT 


. Born at Paris, 1755; died there, 1832. “He is as sound a master of the 
process of color-printing as Janinet, and a draughtsman of far more orig- 
inal talent. He keeps far more strictly to pure aquatint than Janinet, 
seldom combining work with the roulette, and his surfaces of color gain 
wonderfully thereby in the transparent quality of their tone. In society- 
genre he is one of the most distinguished masters, and his ‘Promenade de 
la Galerie du Palais Royal’ and ‘La Promenade Publique’ are of the 
greatest interest in their spirited representation of manners in Paris at 
the time of the Revolution—Hrnp. 


DEBUCOURT, PHILIBERT LOUIS 


224. Le Comprument. Color-engravings. 1787. 
Portalis and Beraldi, I, p. 698. No. 2. 
After the engraver’s own design. Premiere épreuve. 
VERY FINE EARLY IMPRESSION. In the half-open closet, in 
the background, is seen a doll and a polichinelle. With 
enough margin to show the register and the plate marks. 
EXCESSIVELY RARE IN SUCH QUALITY. 
Companion to No. 225. 


DEBUCOURT, PHILIBERT LOUIS 


225. Les Bovauets. Color-engraving. 1788. 
Portalis and Beraldi, I, p. 693.. No. 2. 
After the engraver’s own design. VERY FINE EARLY IM- 
PRESSION OF THE SAME QUALITY AS THE FOREGOING. Closely 
trimmed but showing the register-marks, and just showing 
the plate mark. ExcrssIvELY RARE IN SUCH QUALITY. 
Companion to No. 224. 


DEBUCOURT, PHILIBERT LOUIS 


226. L’EscaLADE, ov LES ApiEux pu Matin. Color-engraving. 
Portalis and Beraldi, I, p. 693. No. 4. 
After the engraver’s own design. BEAUTIFUL IMPRESSION 
WITH ENOUGH MARGIN TO SHOW THE REGISTER-MARKS. The 
plate mark is missing. ExcrsstvELY RARE IN SUCH QUAL- 
ae & 


Second Session, Monday Evening, April 12th 


DEBUCOURT, PHILIBERT LOUIS 


227. Hever et Maryevr, ov LA CrucHeE Casste. Color-engraving. 
Portalis and Beraldi, I, p. 694. No. 5. 
After the engraver’s own design. EXTREMELY FINE AND 


HARMONIOUS IMPRESSION. ‘The margins with plate and reg- 
ister marks are almost entirely missing. VERY RARE. 


DEBUCOURT, PHILIBERT LOUIS 


228. Le Menuet pe La Mariée. Color-engraving. 1786. 
Portalis and Beraldi, I, p. 694. No. 8. 
After the engraver’s own design. ONE OF THE CHEFS- 
D’GUVRE OF COLOR PRINTING in an unusually fine and well 
preserved impression. Small margins, showing only the 
lower register mark. OF THE UTMOST RARITY. 


Companion to No. 229. 


DEBUCOURT, PHILIBERT LOUIS 


229. La Nocre av Cuateav. Color-engraving. 1787. 
Portalis and Beraldi, I, p. 694. No. 8. 
After the engraver’s own design. ONE OF THE CHEFs- 
D’EUVRE OF COLOR PRINTING in an unusually fine and well 
preserved impression. With enough margin to show the 
plate mark and all four register marks. Or THE UTMOST 
RARITY. 
Companion to No. 228. 


DEBUCOURT, PHILIBERT LOUIS 


230. La PromEenapdE pu Jarpin pu Patats-Royat. Color-engray- 
ing. 1787. 

Portalis and Beraldi, I, p. 694. No. 10. 
After the engraver’s own design. VERY FINE COLOR PRINT 
WITH LARGE MARGIN, showing the full plate mark and all 
four register marks. ‘Three small tears carefully repaired 
and a little foxed. Very RARE. 
Companion to No. 281. 


“Cette piece, qui porte la méme date que la suivante, est d’une maniére 
trés-différente. Elle n’est qu’attribuée a Debucourt.”—Berrator. 


Second Session, Monday Evening, April 12th 


DEBUCOURT, PHILIBERT LOUIS 


231. La PromEeNapE DE LA GALERIE pU Patats-Royat. Color-en- 
graving. 1787. 
Portalis and Beraldi, I, p. 695. No. 11. 
After the engraver’s own design. VERY FINE COLOR PRINT. 
The margin has been completely replaced and a couple of 
tears carefully repaired. ExTREMELY RARE. 


Companion to No. 280. 


DEBUCOURT, PHILIBERT LOUIS 


232. La PromenapE Pustiaue. Color-engraving. 1792. 
Portalis and Beraldi, I, p. 695. No. 12. 
After the engraver’s own design. VERY FINE IMPRESSION. 
The margin has been completely replaced. Otherwise in 
fine condition. 


‘ 


“Il serait superflu de faire l’éloge de cette piece célébre qui a elle seule, 
comme on a remarqué justement, fera desormais la fortune du nom 
de Debucourt, mais ne I’a pas sauvé de Voubli pendant un temps. . 

Il y a quarante ans, nous disait un ancien marchand d’estampes de la 
place du Carrousel, les épreuves de la Promenade publique se trouvaient 
en nombre dans les cartons; on les offrait a Vacheteur pour cent sous 
avant ou avec la lettre, indifféremment. Et Von ne parvenait pas facile- 
ment a les vendre. De loin en loin un client se décidait & emporter une 
épreuve, qu’il faisait ployer en deuw et utilisait comme chemise pour enve- 
lopper autres estampes!”—BERALDI. 


FRANCIS DELARAM 


Born, 1590; died, 1627. “He was contemporary with Elstracke and Van 
de Passe, and engraved various plates in the neat but formal style which 
was prevalent at that time.”—Bryan. 


DELARAM, FRANCIS 


2338. Str Witiiam Srcar, Garrer Kine at Arms. Painter-en- 
graving. 
Andresen, I, p. 387. No. 4 


VERY FINE IMPRESSION BEFORE ANY RETOUCH. 


JEAN MARIE DELATRE 
Born, 1745; died, 1840. 
DELATRE, JEAN MARIE 


234. CuinprREN Frrepinc CHICKENS. Stipple. 
After W. Hamilton. VERY FINE IMPRESSION IN BROWN. 


Second Session, Monday Evening, April 12th 


ETIENNE DELAUNE 
(Master Stephanus, the French “Little Master’) 
Born in Paris, 1519; died, 1584. 


DELAUNHE, ETIENNE 


235. Les Quarres Petrirs Compats. Painter-engravings. 
Robert Dumesnil, IX. Nos. 262-265. 
Hector and Achilles, Pyrrhus and the Trojans, Hannibal 
and Scipio, Combat of Children. A vERY FINE, EVEN SET. 


(4) 


GILLES DEMARTEAU 


Born, 1722; died, 1776. Inventor of the crayon manner. 
DEMARTEAU, GILLES 


237. Le Bercer—La Bercere. Color-engravings. 
Portalis and Beraldi, I, p. 725. 
After J. B. Huet. Two LovELY PRINTS IN THREE INKS. 
Without any margin; cleaned. (2) 


DEMARTEAU, GILLES 


238. La Brercrre. No. 471. Color-engraying in crayon manner. 
Portalis and Beraldi, I, p. 725. 
After J. B. Huet. Very FINE IMPRESSION IN TWO INKS. 
The margin has been cut down to the outer border line. 


DEMARTEAU, GILLES 


239. La BercreRE av Curen. Color-engraving. 
Portalis and Beraldi, I, p. 725. 


After J. B. Huet. Good impression in three inks. With- 


out any margin; cleaned. 


From the Baron Von Lanna Collection. 


DEMARTEAU, GILLES 


240. Youne Girt with a Rost 1x Her Hair. No. 568. Color- 
engraving in crayon manner. 
Portalis and Beraldi, I, pp. 723-24. 
After F. Boucher. VERY FINE IMPRESSION IN THREE INKS. 
Laid down and without white margin. 


Second Session, Monday Evening, April 12th 


DEMARTEAU, GILLES 


241. Pasrorate No. 585; Pasrorate No. 586. Color-engravings. 
Portalis and Beraldi, I, p. 725. 
Both after J. B. Huet. Two very desirable subjects 
printed in three colors. The margin cut down to the 
outer border line and stretched on a stone-blue board. 
They have been cleaned. (2) 


DEMARTEAU, GILLES 


242. La GranpE Pasrorate. No. 601. Color-engraving. 
Portalis and Beraldi, I, p. 725. 
After J. B. Huet. An exceedingly fine impression in five 
inks, with enough margin to show the register and plate 
marks. A colored border has been pasted around the edge. 


DEMARTEAU, GILLES _ 


(248. L’trs. No. 688. Color-engraving. 
Portalis and Beraldi, I, p. 725. 
After J. B. Huet. BrauriruL IMPRESSION IN FOUR INKS, 
OF UNUSUAL FRESHNESS. The print has a small margin, 
but not enough to show the plate mark. 


From the Baron Von Lanna Collection. 


DEMARTEAU, GILLES 


244. Nympue av Mouton; Nympue av Papition. Color-engrav- 
ings. 
Portalis and Beraldi, I, p. 725. 
Both after J. B. Huet. Two BEAUTIFUL COLOR-ENGRAV- 
INGS PRINTED IN FOUR INKs and well preserved. A small 
margin, but not large enough to show either the register 
or the plate marks. (2) 


Second Session, Monday Evening, April 12th 


MARCO DENTE (da Ravenna) 


Born in the latter part of the fifteenth century; died in Rome, 1527. Was 
one of the most eminent pupils of Marcantonio’s school. His best works 
are remarkable for their purity and care of execution—Bryan. 

He lost his life during the Sack of Rome by the Spaniards in 1527. 


DENTE, MARCO (da Ravenna) 


245. Tur Basso-Reiievo witH THREE Curpips, HoLtpine THE EM- 
BLEMS OF NEPTUNE; ALso KNown as THE THRONE OF 
Neptune. Engraving. 


Bartsch, XIV. No. 242. 


VERY FINE OLD IMPRESSION AND EXTREMELY RARE. 
From the K. E. Von Liphart Collection. 


DENTE, MARCO (da Ravenna) 


246. Tue JupemEnr or Paris. Engraving. 
Bartsch, XIV. No. 246. 
Copy after Raimondi’s engraving. Bartsch, No. 245. 
FINE IMPRESSION. 


DENTE, MARCO (da Ravenna) 


247. Venus anp Cupip Carriep By DoupnHins. Engraving. 
Bartsch, XIV. No. 324. 
BEAUTIFUL OLD IMPRESSION before the retouch and before 
Salamanca’s Address. 


JEANNE or MARTIAL DENY 
End of the eighteenth century. 
DENY, JEANNE or MARTIAL 


248. Le Consommsé. Line-engraving. 
Portalis and Beraldi, I, pp. 738-740. 
After Moitte. Very good impression, with large margin. 


CHARLES MELCHIOR DESCOURTIS 


Born 1758; died 1820. “He was a pupil of Janinet and in every way 
worthy of his master. All his technical skill and his charming sense of 
color he put in the translation of Taunay’s designs."—M. C. Sataman. 


DESCOURTIS, CHARLES MELCHIOR 


249. La Forrr pr Virxacre. Color-engraving. 
Portalis and Beraldi, I, p. 746. No. 1. 
After Nicolas Antoine Taunay. An unusually fine im- 


Second Session, Monday Evening, April 12th 


[ No. 249—Continued | 
pression, but not a proof. The inscription in the lower 
margin was covered with a strip of paper, while being 
printed. The upper and lower register marks are visible, 
but the platemark is cut off. 
Companion to No. 250. 


From the H. C. Hoskier Collection. 


DESCOURTIS, CHARLES MELCHIOR 


250. La Nocr ve VittacE. Color-engraving. 
Portalis and Beraldi, I, p. ‘746. No. 1. , 
After Nicolas Antoine Taunay. A vERY FINE IMPRESSION, 
but not a proof. It seems that the inscription in the lower 
margin was sandpapered off and the coat-of-arms re- 
placed with pen and ink. With upper and lower register 
marks—the platemark barely preserved. 
Companion to No. 249. 


From the H. C. Hoskier Collection. 


DESCOURTIS, CHARLES MELCHIOR 


251. La Rixe. Color-engraving. 
Portalis and Beraldi, I, p. 746. No. 1. 
After Nicolas Antoine Taunay. UnusvuaLLy FINE PROOF 
BEFORE ALL LETTERS, and well preserved. ‘The upper and 
lower register-marks are visible and the platemark has 
been spared. The margin a trifle water-stained. VERY 
RARE IN SUCH QUALITY... 
Companion to No. 252. 


From the H. C. Hoskier Collection. 


DESCOURTIS, CHARLES MELCHIOR 


252. Le Tamporrn. Color-engraving. 
Portalis and Beraldi I, p. 746. No. 1. 
After Nicolas Antoine Taunay. UNusvuALLY FINE PROOF 
BEFORE ALL LETTERS. Of rare freshness and otherwise 
well preserved. The upper and lower register-marks are 
visible and the platemark has been spared. The margin 
a trifle water-stained. 
Companion to No. 251. 


From the H. C. Hoskier Collection. 


Second Session, M onday Evening, April 12th 


DESCOURTIS, CHARLES MELCHIOR 


253. L’Amant Surpris. Color-engraving. 
Portalis and Beraldi, I, p. 747. No. 38. 
After Frédéric Jean Schall. VrEry rine coLoR-PRINT. A 
trifle stained on the back, but not visible on the print, 
and two small tears on the left lower corner carefully 
mended. ExcEEDINGLY RARE IN THIS QUALITY. 


DESCOURTIS, CHARLES MELCHIOR 
254. VuE p’un Pont Sur L’Aar. Color-engraving. 
Portalis and Beraldi, I, pp. 746-747. 
After the engraver’s own design. Very nice impression, 
with register and platemarks. 


BARON LOUIS AUGUSTE BOUCHER DESNOYERS 


Born in Paris in 1779; died there in 1857. One of the most eminent of 
modern French engravers. 


DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 


255. St. Marcuerire. Line-engraving. 
Apell;p.1 19s Noste 
After Raphael. Third state. Script letter proof with the 
small stamp of the monogram. Very Fine. Framed. 


DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 


256. BrxisarreE Porranr Son Guipe. Line-engraving. 
Apell, p.clZ0 Norzs, 
After F. Gérard. Second state. Open letter proof with 
the stamp of the two antique heads. Very rine. Framed. 


DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 


257. Napotxon I 1x Coronation Roses. Line-engraving. 
Apell, p. 121. No. 40. 
After F. Gérard. Fourth state. Fixe repression. 
Framed. 


This was the official portrait which Napoleon caused to be engraved “for 
presentation to foreign Princes, Ambassadors, and distinguished persons 
of the Empire.” 


Second Session, Monday Evening, April 12th 


DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 
258. Cuartes Maurice TaLiteyranp pE Pericorp. Line-engrav-_ 
ing. , 
Apell, p. 121. No. 44. 
After F. Gérard. Third state. Fine, EARLY IMPRESSION, 
with the engraver’s stamp of the two antique heads. With 
uncut margin. 


WILLIAM DICKINSON 
Born, 1746; died, 1923. 


DICKINSON, WILLIAM 


259. CuitpisH AMUSEMENT. Mezzotint. 
After George Morland. BrauTiruL IMPRESSION IN COLORS. 
VERY RARE. 


CHRISTIAN WILHELM ERNST DIETRICH 
(Called Dietricy) 


Born in Weimar, 1712; died in Dresden, 1774. He established himself 
at Dresden, where he was patronized by the court, and was in 1729 ap- 
pointed Court Painter to Augustus, second King of Poland. He also exe- 
cuted a large number of etchings after his own compositions. 


DIETRICH, CHRISTIAN WILHELM ERNST (called Dietricy) 


260. THe SHEPHERD’s Famity. Painter-etching. 
Linck, No. 71. 


VERY FINE IMPRESSION WITH FULL MARGIN. 


From the E. Schroeter Collection. 


DIETRICH, CHRISTIAN WILHELM ERNST (called Dietricy) 


261. Tue Pepprer. Painter-etching, in the style of Van Ostade. 
Linck, No. 76. 
First state. VERY BRILLIANT PROOF, before the plate was 
reworked. In perfect condition. 


From the Baron Von Lanna Collection. 


Second Session, Monday Evening, A pri 12th 


DIETRICH, CHRISTIAN WILHELM ERNST (called Dietricy) 


262. Nympeus Barnine Near a Cave. Painter-etching in the style 
of C. Poelemburg. 1741. 
Linck. No. 1386. 


VERY FINE IMPRESSION IN PERFECT CONDITION. 


From the Baron Von Lanna Collection and also from a 
collection unknown to Fagan. 


JOHN DIXON 
Born in Dublin about 1740; died in London, 1780. 
DIXON, JOHN 


263. THE Misses Crewe. Mezzotint. 
©. Smith, 1, No. 712: 
After Sir Joshua Reynolds. First state. ExTrEmMELy 
FINE PROOF with the artists’ names only in scratched let- 
ters. 
Daughters of John Crewe, Esq., M. P. for Cheshire (died 1752). Eliza- 


beth married, about 1766, Dr. Hinchcliffe, afterward Bishop of Peterbor- 
ough. Emma died unmarried. 


BARTOLOMAUS DOLENDO 


Born at Leyden about 1571; died after 1630. . Supposed to have been 
a pupil of H. Goltzius. 


DOLENDO, BARTOLOMAUS 


264. JosepH Justus Scaticer (a celebrated Protestant scholar). 
Painter-engraving. 
Andresen, I, p. 377. 
FINE OLD IMPRESSION, laid down on account of a little im- 
perfection in the border. 


WILLIAM DOUGHTY 
Native of York. Died in London, 1782. 
DOUGHTY, WILLIAM 


265. ReEvEREND Witiiam Mason. Mezzotint. 
C. Smith, I, No. 4. 
After Sir Joshua Reynolds. First state. Seript letter 
proof, with margin. Duplicate from the British Museum. 


Second Session, Monday Evening, April 12th 


PIERRE DREV ET 


Born at Loire, 1663; died at Paris, 1738. He studied first under Germain 
Audran at Lyons, and later removed to Paris, where he received instruc- 
tion from Gérard Audran. 

In 1696 he became Court Engraver, and in 1707 was made an Academician. 
His works, which are chiefly portraits, are well drawn and very highly 
finished, with representations of the draperies, lace, silks, ermine, carved 
wood, and all other accessories and redundancies, which characterize the 
portraits, as near perfection as any engraver ever attained. Yet all these 
are carefully subordinated to the features, which are engraved with great 
delicacy and minuteness. 


DREVET, PIERRE 


266. Rosert pE Corre (also known as “the man with a beautiful 
hand’). Line-engraving. 
Firmin Didot, 34. 
After Hyacinthe Rigaud. Second state. VERY FINE PROOF 
BEFORE THE WORD “ARCHITECTE.” RARE IN THIS STATE. 
Framed. | a 


DREVET, PIERRE 


267. Louis AvcustE DE Bourson, Prince pE Dompes. Line-en- 
graving. 
Firmin-Didot, No. 61. 
After Fr. de Troy. First state. FINE, EARLY IMPRESSION, 
with smoking cannons on either side of the coat-of-arms. 
EXTREMELY RARE. Framed. 


DREVET, PIERRE 


268. Hyacintue Ricavup. Line-engraving. 
Firmin Didot, No. 111. 
After his own painting. First state. SUPERB PROOF BE- 
FORE ALL LETTERS. In perfect condition. 


From the H. S. Theobald Collection. 


Second Session, Monday Evening, April 12th 


PIERRE-IMBERT DREVET 


Born in Paris, 1697; died there, 1739. Pupil of his father, Pierre Drevet. 


DREVET, PIERRE-IMBERT 


269. Samurt Bernarp (celebrated financier, 1651-1739). Line- 
engraving. 

Firmin-Didot, No. 11. 
After Hyacinthe Rigaud. First state. Proof before the 
additional work on the left hand, which caused the state 
to be called “with the white hand.” From a separate 
plate 19 verses have been printed below it. ExcrssivELy 
RARE AND VERY BEAUTIFUL. Framed. 


DREVET, PIERRE-IMBERT 


270. Jacques BenicNE Bossuer (Bishop of Meaux). Line-engray- 
ing. 

Firmin-Didot, No. 12. 
After Hyacinthe Rigaud. Fourth state. Very early im- 
pression, before any dots after the name of Rigaud. ‘This 
plate, the engraver’s masterpiece, is much sought after, 
even in later states. AN EARLY PROOF OF THIS QUALITY Is 
VERY RARE. : 


DREVET, PIERRE-IMBERT 


271. ADRIENNE Lecouvrevr. Line-engraving. 
Firmin-Didot, No. 24. 
After Ch. Coypel. Second state. A fine, early impression 
before the misspelled word “model” was corrected. Framed. 


GASPARD DUCHANGE 


Born at Paris, 1662; died there, 1757. He studied first under Guillaume - 


Vallet and later under Jean Audran. 


DUCHANGE, GASPARD 


272. CHARLES DE LA FossE (painter). Line-engraving. 1707. 
Portalis and Beraldi, II, p. 36. No. 14. 
After Hyacinthe Rigaud. 
This plate was engraved by Duchange for his reception into the Academy 


in 1707. It is one of three plates which Bryan mentions as the finest plates 
by the engraver. 


n 
ee eee TO OOO ae _~,_ Tr el eee 


Second Session, Monday Evening, April 12th 


K. F. DUMEE 
DUMEE, E. F. 


273. THE Cuase.  Stipple. 
Nicely printed in colors. Framed. 


ROBERT DUNKARTON 


_ Born in London, 1744; died about 1817. 
DUNKARTON, ROBERT 


274. Hon. Henry Apptneron. Mezzotint. 
Ce Smith, £. No. 1. 
After J. S. Copley. Second state. Script letter proof. 
Framed. 


DUNKARTON, ROBERT 


275. Miss Bamprrerp. Mezzotint. 
C. Smith, I. No. 6. 
After W. Peters. First state. Proof with the artists’ 
names and publication line in scratched letters. 
The title is in the handwriting of Horace Walpole, and the identity of the 


lady thereby placed beyond any doubt; a second plate was engraved, 
and published in 1777, under the title “Belinda.” 


ASHER BROWN DURAND 
(American Line-Engraver ) 
Born at Jefferson Village (So. Orange), New Jersey, August 21, 1796; died 
in 1886. 
DURAND, ASHER BROWN 


276. AriapnE. Laine-engraving. 
After Vanderlyn. Fine open letter proof, signed in pencil 
by the engraver. 


Second Session, Monday Evening, April 12th 


ALBRECHT DURER 


Born at Niirnberg in 1471; died there 1528. He was of Hungarian descent; 
his father coming from the little village of Eytas in Hungary. -In 1486 Al- 
brecht entered the studio of Michael Wolgemut, the best Niirnberg painter 
of that day. He worked there four years, and then spent several others 
traveling about, probably for the most part in Germany. During this time 
he visited Colmar in order to see Martin Schéngauer, only to find that the 
great master had died shortly before. He returned to Niirnberg in 1494, 
and his works from that date until 1505 belong to what is called his 
First Period. 
In the autumn of 1505 Diirer undertook a journey to Venice. With his 
return in 1507 begins the Second Period of his work, and in it the influence 
of the art of Italy can be distinctly traced. 
In 1520-21 Diirer was in the Netherlands and the works from that 
time until his death in 1528 comprise the Third Period of his work. 
“Albrecht Diirer fills a large space in the history of art. So far as Germany 
is concerned he is facile princeps, unrivalled even in his own age by so great 
an artist as the younger Hans Holbein, and towering above all his succes- 
sors, no one of whom can raise a head high enough to look him in the face. 
Although it would seem that it was Diirer’s ambition to excel as a 
painter, it is as an engraver that he has won his fame and taken so sym- 


n 
— eo 


pathetic a grasp of the human heart.”—Lionet Cust. 


DURER, ALBRECHT 


277. ApamM AND Eve.. Painter-engraving. 1504. 
Bartsch, VII. No. 1. 
First state. 


THE EXTREMELY RARE FIRST STATE BEFORE THE SPLIT IN THE BARK OF THE 
TREE SEEN UNDER ADAM’S LEFT ARMPIT. IMPRESSION OF UNSURPASSED QUALITY. 
Duplicate from the British Museum on paper with the water-mark “Bull’s 
Head.” 

On the back of the print is a rather amusing inscription as follows: “On 
the mount to which this print was attached was written, ‘this impression is 
thought by all judges to be the best in the world; it belonged to Mr. Gulston, 
and was sold in his sale by Mr. Greenwood, 1786. I gave five guineas 
1oTpites 


DURER, ALBRECHT 


278. ANONYMOUS OLD COPY OF THE SAME. 


DURER, ALBRECHT 


279. ‘THE Nativiry. Painter-engraving. 
- Bartsch, VII. No. 2. 
SUPERB PROOF ON PAPER WITH THE BULL’S HEAD WATER- 
mark. In perfect condition. Or THE GREATEST RARITY. 


Second Session, Monday Evening, April 12th 


DURER, ALBRECHT 


280. Tue Lirrite Passion (on copper). Painter-engravings. 
Bartsch, VII. No. 3 to No. 18, inclusive. 


This suite of sixteen pieces comes from the W. E. Drugulin and Louis 
Galichon Collections, and also from an unidentified collection, whose mark, 
stamped in red, is the initial “O” surmounted by a crown. In prints as 
small as these it is often impossible to identify the water-mark of the 
paper, as the mark itself frequently does not come within the area covered 
by the print. 


DURER, ALBRECHT 


281. Tne Propicat Son. Painter-engraving. 

Bartsch, VII. No. 28. 

SUPERB IMPRESSION ON PAPER with the water-mark “Gothic 
P.” The “Prodigal” himself has been called a likeness of 
Direr. The background has always been much admired 
and Vasari says of it: ‘In this engraving there are huts 
or cabins after the German manner which are exceedingly 
beautiful.” Framed. 


DURER, ALBRECHT 


282. Tue Viremn with a Crown or Stars. Painter-engraving. 
1508. 
Bartsch, VII. No. 31. 


VERY FINE impression. ‘This is usually considered to be 
the most beautiful of Diirer’s smaller Madonnas. 


From the Henry Huth Collection. 


DURER, ALBRECHT 


283. Tue Vircin Searep on a Grassy Bank. Engraving. 1508. 
Bartsch, VII. No. 84. 


SUPERB IMPRESSION AND IN PERFECT CONDITION. This 
print is one of the most exquisite of Diirer’s works. 


From the J. Maberley and A. Morrison Collections. 


DURER, ALBRECHT 


284. THe Vircin Crownep By Two AnceEts. Painter-engraving. 


Bartsch, VII. No. 389. 


BEAUTIFUL IMPRESSION AND IN PERFECT CONDITION. 


Second Session, Monday Evening, April 12th 


DURER, ALBRECHT 


285. THe VIRGIN AND THE InFant Curist Houpine a Pear. Paint- 
_ er-engraving. 
Bartsch, VII. No. 41. 


VERY FINE IMPRESSION. 


DURER, ALBRECHT 


286. Maponna or THE Monkey. Painter-engraving. About 1500. 
Bartsch, VII. No. 42. 
IMPRESSION OF THE VERY FINEST QUALITY. EXTREMELY 
RARE. 
“Among the Virgins of Diirer—late as well as early—this is one of the 
most beautiful and dignified, or it may, perhaps, be quite safe to say, the 
most beautiful and dignified, not only in the figures of the Virgin and 
Child, but also in the breadth and airiness of the landscape. The loveliness 
of the background was early recognized and several Italian engravers 


availed themselves of it. A water color study of the landscape distance on 
the right is in the British Museum.”—S. R. Koruter. 


DURER, ALBRECHT 


287. ‘THE Hory Famity with THE Locust. Engraving. 

Bartsch, VII. No. 44. 

First period. On paper water-marked with the Gothic P. 
The slipped stroke of the graver, which appears over the 
head of the Virgin, indicates one of the earliest impressions 
from the plate. This plate, like “The Prodigal Son,” is 
undated, but is known by the style of the monogram, and 
also by the naive drawing of certain details in the back- , 
ground, as being among Diirer’s very earliest. works. | 
Framed. . 


288. Sr. Georce on Horsesack. Painter-engraving 
Bartsch, VII. No. 54. 


UNUSUALLY FINE IMPRESSION. | 
From the E. Schroeter Collection. 


. 
DURER, ALBRECHT 
. 


DURER, ALBRECHT | 
289. Sr. Huperr. Painter-engraving. | 
Bartsch, VII. No. 57. ‘ 


UNUSUALLY FINE IMPRESSION; IN PERFECT CONDITION. 
Framed. 


Second Session, Monday Evening, April 12th 


DURER, ALBRECHT 


290. Sr. AnrHony. Painter-engraving. 1519. 
Bartsch, VII. No. 58. 
VERY FINE, SILVERY IMPRESSION ; IN PERFECT CONDITION. 


“For depth of conception and tenderness of execution and feeling, this 
small plate is equal to the best engravings of former years. Diirer. never 
did anything again equal to it.’—Tuausine. 


DURER, ALBRECHT 


291. Sr. Jerome. Dry-point. 
Bartsch, VII. No. 59. 
VERY FINE, EARLY IMPRESSION WITH BURR. IMPRESSIONS OF 
THIS QUALITY ARE OF THE UTMOST RARITY AND ARE FOUND 
ONLY IN THE GREAT COLLECTIONS ABROAD; ONLY ONE OTHER 
IMPRESSION IS KNOWN TO BE OWNED IN THIS COUNTRY. 


From the St. Aubin, R. Fisher and R. Scholtz Collections. 


In the “St. Jerome” the value of the burr of dry-point isso completely 
realized that one wonders that Diirer did not recur to the method later. 
The most practical explanation might be the right one, that the few good 
impressions that could be taken would not repay him for his labor, at a 
time when a single impression of an engraving was probably sold for a 
small price, and before the public had realized the special artistic value 
and the limitations of the new method. After Diirer we find dry-point 
practiced very little, and never with any appreciation of its possibilities, 
until the time of Rembrandt. 


DURER, ALBRECHT 


292. St. Jerome 1n His Ceti. Painter-engraving. 
Bartsch, VII. No. 60. 
BEAUTIFUL SILVERY IMPRESSION IN PERFECT CONDITION. 
Framed. 


DURER, ALBRECHT 


293. St. JeroME IN PEnITENCE. Painter-engraving. 
Bartsch, VII. No. 61. 


VERY FINE IMPRESSION. 


DURER, ALBRECHT 


294. Sr. Genevieve (The Penitence of St. John Chrysostom). 
Painter-engraving. 
Bartsch, VII. No. 68. 


VERY FINE AND STRONG IMPRESSION. 


From the P. Beham, P. Mariette, J. Marshall and Henry 
Huth Collections. 


Second Session, Monday Evening, April 12th 


DURER, ALBRECHT 


295. Turee Gen. Painter-engraving. 
Bartsch, VII. No. 66. 


AN ENTIRELY FINE IMPRESSION AND VERY RARE. 


DURER, ALBRECHT 


296. A Saryr Famiry. Painter-engraving. 
Bartsch, VII. No. 69. 


EXCEEDINGLY FINE IMPREssION. Very rare in such quality. 


DURER, ALBRECHT 


297. Tue Carryine Orr or AMymone. Painter-engraving. 
Bartsch, VII. No. 71. 


VERY FINE EARLY IMPRESSION. 


From the E. Gailchon and R. Scholtz Collections. 


First period. Undated. This plate contains one of the most elaborate 
landscape backgrounds which Diirer ever engraved. As a rule, he com- 
posed his pictures on a vertical plane, like a tile or a piece of tapestry. 
Occasionally the distance is seen, but it is used only as an element in 
the vertical composition. Most of Diirer’s landscapes, like the present 
one, contain a fortified town on a hill something of the type of Mont Saint 
Michel, but the general effect produced in the composition lays stress 
on the silhouette of the hill against the sky rather than on the distant 
horizon. 


DURER, ALBRECHT 


298. Tur Carryinc Orr or a Youna WomAN ON A Unicorn. 
Painter-etching. 1516. 
Bartsch, VII. No. 72. 


VERY FINE EARLY IMPRESSION BEFORE any oxide spots. 


DURER, ALBRECHT 


299. Errrects oF JEALOusy. Painter-engraving. 
Bartsch, VII. No. 738. 
First state. VERry FINE IMPRESSION BEFORE THE RETOUCH. 
The impressions, with the retouch, show much closer shad- 
ing of the flesh, particularly on the back of the man seen 
from behind. The print is laid down. 


Second Session, Monday Evening, April 12th 


' DURER, ALBRECHT 


300. Metancnuouia. Painter-engraving. 
Bartsch, VII. No. 74. 


SUPERB IMPRESSION IN ABSOLUTELY PERFECT CONDITION, 
WITH MARGINS. Framed. 


This is universally admitted to be the greatest of Diirer’s engravings. 


DURER, ALBRECHT 
301. Group or Four Nupe Women. Painter-engraving. 1497. 
Bartsch, VII. No. 75. 


, VERY FINE, EARLY IMPRESSION. The earliest of the mas- 
ter’s dated plates. 


| DURER, ALBRECHT 
| 302. Tue Dream. Painter-engraving. 
Bartsch, VII. No. 76. 


VERY FINE IMPRESSION on paper with the watermark “High 
Crown.” From the master’s first period. 


DURER, ALBRECHT 
303. Tue Great Fortune. Painter-engraving. 


Bartsch, VII. No. 77. 


SUPERB IMPRESSION. Framed. 


DURER, ALBRECHT 
304. Justicz. Painter-engraving. 
Bartsch, VII. . No. 79. 


AN IMPRESSION OF THE HIGHEST QUALITY, on paper with 
the watermark “Bull’s Head.” 


From the A. Morrison Collection. 


In this beautiful little engraving Diirer has. represented, according to 

Bartsch, the Almighty as he will appear upon the Day of Judgment. It is 
_unsigned and bears no date. Authorities differ as to when it was exe- 

cuted—but all agree that it was after 1497 and not later than 1506. 


Second Session, Monday Evening, April 12th 


DURER, ALBRECHT 


305. Tue Orrer oF Love. Painter-engraving. 
Bartsch, VII. No. 83. 


VERY FINE, EARLY IMPRESSION. 
From the Robert Dumesnil and R. Scholtz Collections. 


One of Diirer’s earliest plates. Undated and with the monogram in its 
earliest form. The costumes and the general feeling of the composition are — 


quite Gothic in character. 
“The workmanship is free and unconstrained rather than primitive, quite — 
delicate, and very much more careful in the flesh than the preceding plates.” _ 


—S. R. Korutrer. a 


DURER, ALBRECHT 


306. Hosrrss anp Cook. Painter-engraving. 
Bartsch, VII. No.-84. 
A SUPERB IMPRESSION in deep black ink, perfect in condi-— 


tion. 
From the R. Scholtz Collection. 


DURER, ALBRECHT 


307. THrer Prasants. Painter-engraving. 
Bartsch, VII. No. 86. 


VERY FINE IMPRESSION. 


DURER, ALBRECHT 


308. THe Sranparp Bearer. Painter-engraving. 
Bartsch, VII. ‘ No. 87. 


SUPERB IMPRESSION, IN PERFECT CONDITION. 
From the A. Alferoff and R. Scholtz Collections. 


“Evidently an early original work of Diirer’s, the St. Andrew’s Cross of the 
Golden Fleece on the standard, which belonged to Maximilian I as Duke 
of Burgundy, pointing without doubt to the War of 1499.—THausine. 


DURER, ALBRECHT 


309. Tur AssemMBLY oF Soxupiers. Painter-engraving. 
Bartsch, VII. No. 88. 


FINE IMPRESSION. 


This plate is sometimes called “The Robbers” on the supposition that it rep- 
resents Diirer (the men seen full face) fallen into the hands of brigands. 


Second Session, Monday Evening, April 12th 


DURER, ALBRECHT 


310. Knicut, DeEaTH anp THE Devin. Painter-engraving. 
Bartsch, VII. No. 98. 


UNUSUALLY FINE IMPRESSION. Framed. 


DURER, ALBRECHT 


311. THE Cannon. Painter-etching. 1518. 
Bartsch, VII. No. 99. 
VERY EARLY IMPRESSION, before the plate showed any sign 
- of oxide. Printed on paper with the watermark Anchor 
ina circle. There is a tear in the lower right hand cor- 
ner carefully repaired. 


DURER, ALBRECHT 


312. Coat-oFr-aRMS WITH THE Cock. Painter-engraving. 
Bartsch, VII. No. 100. 
SUPERB IMPRESSION IN PERFECT CONDITION. 


“He drew splendid coats of arms, including the finest the Renaissance 
produced in the way of heraldry.”—KwnacxrFuss. 


DURER, ALBRECHT 


313. CoaT-OF-ARMS WITH THE SkuLL. Painter-engraving. 
Bartsch, VII. No. 101. 
THIS IMPRESSION IS UNQUESTIONABLY ONE OF THE VERY 
FINEST IN EXISTENCE. 
From the Count Nicolas Esterhazy of Hungary and J. 
S. Morgan Collections. 
The print is sometimes known as “The Dying Bride.” It undoubtedly 
has an allegorical significance, but there is as yet no satisfactory ex- 
planation of its meaning. 


DURER, ALBRECHT 


314. Erasmus or Rorrerpam. Painter-engraving. 1526. 
Bartsch, VII. No. 107. 
FINE mMPREsSION. RARE OF THIS QUALITY. 


The drawing from which this portrait was engraved was made by Diirer 
in 1520-1521, while on his visit to the Netherlands. Five years later at the 
urgent request of Pirkheimer, to whom Erasmus frequently wrote upon the 
subject, Diirer engraved the portrait from his drawing and from his re- 
membrance of Erasmus. It did not quite satisfy Erasmus as to likeness, and 
he writes, “I am not like I was five years ago, nor does the engraving re- 
semble me as I now am.” 

It is, however, technically Diirer’s finest engraved portrait. 


Second Session, Monday Evening, April 12th 
DURER, ALBRECHT 3 ‘) 7a 
315. Tue Last Supper. Woodcut. 1523. - q 


Bartsch, 53. 
SUPERB IMPRESSION. Framed. 


DURER, ALBRECHT 


316. THe Circumcision. Woodcut. 
Bartsch, VII. No. 86. | 4 
From the set “The Life of the Virgin.” Trial proof, before — 
the Latin text at the back. UNusvALLy FINE IMPRESSION — 
on paper of the watermark “High Crown.” Exrremety — 
RARE. 


From the Duke of Aremberg and P. Gellatly Collections. q 


DURER, ALBRECHT 


317. Tue Viren SurRoUNDED BY Many AnceEts. Woodcut. 
Bartsch, VII. No. 101. 
EXCEEDINGLY FINE IMPRESSION OF RARE BRILLIANCY. 


From the R. Scholtz Collection. 


This is considered to be the most beautiful of Diirer’s wood-cuts. The draw- q : 
ing of the Virgin herself, and especially of the little Angels in the fore- 
ground, is extraordinarily free and beautiful. The block is the same size ~ 
as those from the series of the Life of the Virgin. This block, however, is_ 7 
a superb piece and does not belong to the series. 


DURER, ALBRECHT 


318. Curist APPEARING TO St. Grecory. Woodcut. 1511. 
Bartsch, VII. No. 128. 
Excellent impression on paper with the watermark “High 
crown.” Framed. 


DURER, ALBRECHT 


319. Portrair or UtricH VarnBuLER. Woodcut. 
Bartsch, VIII. No. 155. 


EXTREMELY FINE IMPRESSION AND VERY RARE. 


DURER, ALBRECHT 


320. Porrrair or Himsetr. Woodcut. 
Bartsch, VII. No. 156, 
Second state. Fine mrpression before the monogram and 
the date. 


Second Session, Monday Evening, April 12th 


CORNELIS DUSART 


Born at Haarlem, in 1660; died there in 1704. “He was a pupil of 
Adriaan Van Ostade, whose ‘style he imitated with considerable success. 
His works, like those of Ostade, represent Dutch peasants regaling and 
merry-making. Although not equal to his master in the richness of his tones 
and the harmony of his effects, his coloring is clear and agreeable, his com- 
positions ingenious, and his touch very spirited.”—Bryan. 


DUSART, CORNELIS 


321. THE Drunxkarps. Painter-etching. 1685. 
Sb pus Dutuit, IV. No. 7. 


SUPERB IMPRESSION, IN PERFECT CONDITION. 


From the Baron Von Lanna Collection. 


DUSART, CORNELIS 
322. Tue Dancine Doc. Painter-etching. 
Dutuit, LY, No. 11. 


SUPERB IMPRESSION, IN PERFECT CONDITION. 


From the H. S. Theobald Collection. 


JEAN DUVET (Called the Master of the Unicorn) 


Born at Langres, 1485; died about 1561. “He is among the earliest who 
practiced engraving in France and evidently formed his style on Italian mod- 
els.” —HInp. 


DUVET, JEAN 


323. THE Compat or St. MicHet anp THE Dracon.  Painter- 
engraving. 
Bartsch, VII. No. 25. 
From the set of illustrations to the Apocalypse. VeEry 
FINE IMPRESSION AND RARE. 


From the Baron Von Lanna Collection; also duplicate 
from the Berlin Museum. 


DUVET, JEAN 


324. Poison anp AntIDOTE. Engraving. 
Bartsch, VII. No. 44. 
After Leonardo da Vinci. 
The original drawing, in the reverse sense, is in the British Museum. Duvet 


has varied the details of the composition somewhat, and changed the 
positions ingenious, and his touch very spirited.”—Bryan. 


Second Session, Monday Evening, April 12th 


DUVET, JEAN 


325. TriumpHaL Procession. Painter-engraving. 
Bartsch, VII. No. 41. 


From the Duke of Aremberg Collection. 


RICHARD EARLOM 


Born in Somersetshire, 1743; died in London, 1822. He was at first a 
pupil of Cipriani, but later devoted himself to mezzotinto engraving. He 
executed few works in stipple, but they are of a quality which entitles him 
to rank as one of the greatest engravers in that manner. 


EARLOM, RICHARD 


326. A Frower Piece; A Fruir Piece. Mezzotints. 
J. EK. Wessely. Nos. 144 and 145. 
Both after Van Huysum. Second states. Proofs before 
letters, with the coat-of-arms and the device on the ribbon. 


VERY FINE IMPRESSIONS OF TWO MOST DESIRABLE PLATES. 


Framed. (2) 


GERARD EDELINCK 


Born at Antwerp, 1640; died at Paris, 1707. “Younger than Nanteuil by ten 
years, Gérard Edelinck excelled him in genuine mastery. Born at Antwerp, 
he became French by adoption, occupying apartments in the Gobelins, and 
enjoying a pension from Louis XIV. Longhi says that he is the engraver 
whose works, not only according to his own judgment, but that of the most 
intelligent, deserves the first place among exemplars, and he attributes to him 
all perfections in highest degree, design, chiaroscuro, aérial perspective, 
local tints, softness, lightness, variety, in short, everything which can enter 
into the most exact representation of the true and beautiful without the 
air of color. Others may have surpassed him in particular things, but, ac- 
cording to the Italian teacher, he remains, by common consent, ‘the prince 
of engraving.’ Another critic calls him ‘king.” ”—Cuarres SuMNER. 


EDELINCK, GERARD 


327. Moszs. Line-engraving. 
Robert Dumesnil, VII. No. 2. 
After Philippe de Champaigne. First state. Excrrpine- 
LY FINE IMPRESSION BEFORE THE NAMES OF THE ARTISTS 
AND THE DEDICATION. OF THE GREATEST RARITY. The plate 
was begun by Nanteuil and was only partly completed 
at his death. Edelinck finished it. 


Second Session, Monday Evening, April 12th 


EDELINCK, GERARD 


328. PHILIPPE DE CHAMPAIGNE. Line-engraving. 
Robert Dumesnil, VII. No. 164. 
After his own painting. First state. A vERY FINE EARLY 
IMPRESSION before the slip of the graver in the foliage be- 


hind the head. Framed. 


EDELINCK, GERARD 


329. Martin VAN DEN Bocarrt. Line-engraving. 
Robert Dumesnil, VII. No. 182. 
After Hyacinthe Rigaud. First state. Very FINE PROOF 
BEFORE ALL LETTERS, EXTREMELY RARE. : 


From the Dreux Collection. 


EDELINCK, GERARD 


330. Prince Ferpinanp, BisHor or PapeRBoRN AND MUNSTER. 
Line-engraving. 
Robert Dumesnil, VII. No. 202. 
After Michelin. First state. Very FINE EARLY IMPRES- 
ston, before the coat-of-arms was replaced by another and 
before the inscription was changed. 


EDELINCK, GERARD 


331. Jutes Harpovin Mausart, THE Famous Arcuitrect. Line- 
engraving. 
Robert Dumesnil, VII. No. 268. 
After Hyacinthe Rigaud. Second state. VrERY FINE OLD 
IMPRESSION after Decotte’s dedication had been burnished 


out. 


EDELINCK, GERARD 
332. IsrarL Sytvestre (Engraver to the King). Line-engraving. 
Robert Dumesnil, VII. No. 319. 
After Le Brun. Third state. Fine old impression with 
the inscription and the view of Paris. Framed. 


Second Session, Monday Evening, April 12th 


REGINALD ELSTRACKE 


Flourished in England about 1620. 
“He worked chiefly for: the booksellers and his plates are almost enurels . 
confined to portraits. He also engraved the title-page and several portraits 
for Holland’s ‘Baziliologia.’ "— BRYAN. 


ELSTRACKE, REGINALD 


333. RicHarp Wuuirrineron (Lord Mae of er eee of ete 
engraving. aa 

Andresen, I, p. 450. No. 10. 
Second state—with the cat and with the changes in the — 
inscription, in the lower margin. Goop OLD IMPRESSION. 


S. ARLENT EDWARDS 


(Contemporary Mezzotint Engraver) 


EDWARDS, S. ARLENT 


334. Lapy Hamitron as Emma. Mezzotint (printed in colors by 
the engraver). | 
After George Romney. SicNEp artist’s proor. Limited 
to 175 impressions. Framed. 


JOHN FABER, Junior 
Born in Holland, 1695; died in London, 1756. 
FABER, JOHN, Junior 


335. Sir Goprrey Kneiuer. Mezzotint. 
C. Smith, I. No. 28. 
After his own painting. Frontispiece to Beane of 
Hampton Court.” Only one state known. Very FINE 
IMPRESSION. Framed. 


From the Royal Collection at Windsor Castle. 


Second Session, Monday Evening, April 12th 


GEORG SIEGMUND & JOHANN GOTTLIEB FACIUS 


Both were born in Ratisbon about the middle of the XVIIIth Century, and ~ 
learned the art of engraving in Brussels. From there they came to London, 
where they worked for Josiah Boydell. George S. died about 1814, while 
Johann G., who had preceded him, died about 1802. 


FACIUS, GEORG SIEGMUND AND JOHANN GOTTLIEB 


336. THe SLeEPInc Venus. Stipple. 
za pout Andresen, I, p. 467. No. 12. 
After Titian. Possibly a proof with the artist’s and 
publisher’s names in script. Very FINE, EARLY IMPRES- 
ston, but the lower margin has been cut into. 


WILLIAM FAITHORNE (the elder) 


Born in London, 1616; died there 1691. Pupil of Robert Peake. During 
the revolution he fled to France, where he became pupil of Robert Nanteuil. 
“In his performance few have gone before him, and I may boldly affirm 
none since have come up to him, he being one of the first Englishmen that 
did anything to perfection, especially in heads.’ °—Grorce VERTUE. 


FAITHORNE, WILLIAM (the elder) 
337. Rateu Brownric (Lord Bishop of Exeter). Line-engraving. 
Born, 1592; died, 1659. Master of St. Catherine’s Hall, Cambridge. 


Fagan, p. 24. 

Prefixed to: ‘*A Sermon Preached in the Temple-Chappel, 
at the Funeral of the Right Reverend Father in God, Dr. 
Brownrig. London, 1660.’ Only one state mentioned by 
Fagan. Very FINE. Small margin. 


FAITHORNE, WILLIAM (the elder) 


3988. Henry Hare (Lord Coleraine). ee: 
Fagan, p. 28. , 
After his Lordship’s own design. Second state; the hair 
falling on his left shoulder is darker and the lower line of 
the quill pen is no longer interrupted. FINE IMPRESSION. 


First Baron of Coleraine, created .1625. Author and Antiquary. Prefixed 
to “The Ascents of the Soul.” London, 1681. 


Second Session, Monday Evening, April 12th 


FAITHORNE, WILLIAM (the elder) 


339. Epmunp Enys (educated at Baliol College, Oxford; succeeded 
his father as rector of East Allington, Devonshire, 
1659). Line-engraving. 
Fagan, p. 34. 
Second state, the misspelling in “Metatis” is corrected. 
BEAUTIFUL IMPRESSION, but laid down. 


FAITHORNE, WILLIAM (the elder) 


340. Sir Jonn Fortescu (Lord Chief Justice and Lord Chancellor 
of England under King Henry ye 6th; died 1485). 
Line-engraving. 

In “Fortescutus Illustratus,” London, 1668. Very FINE 
IMPRESSION ; inlaid. 


FAITHORNE, WILLIAM (the elder) 


341. Joun Morvaunt, Viscount Morpaunt. Line-engraving. 
Born, 1626; died, 1675. Father of the great Earl of Peterborough; made 
several attempts to restore Charles II. 

Fagan, p. 50. 

Second state; with the cross hatching on the hair and 
after the high-lights had been subdued. Very FINE IMPREs- 
SION. 


From the J. A. Boerner Collection. 


FAITHORNE, WILLIAM (the elder) 


342. Henry More (Divine and Philosopher, styled by John Nor- 
s “The intellectual Epicure;” died 1687). Painter- 
engraving. 

Fagan, p. 50. 7 
Prefixed to: “Henrici Mori Cantabrigiensis Opera Theo- 
logica Anglise; London, 1675. Third state; with the 
shaded neck band. Very FINE ImPREssIoNn, closely cut. 
From the M. M. Sykes Collection. 


FAITHORNE, WILLIAM (the elder) 


343. Sir Joun Ocie. Painter-engraving. 
Fagan, p. 52. Only one state mentioned by Fagan. 
In: The Commentaries of Sir Francis Vere, being Diverse 
pieces of service . . . published by Wm. Dillingham, 
D. D. Cambridge, 1657. Frve impression. 


Second Session, Monday Evening, April 12th 


FAITHORNE, WILLIAM (the elder) 
844. Hueu Perers (Fanatic and Regicide, 1599-1660). Painter- 
engraving. 
Fagan, p. 53. Only one state mentioned by Fagan. 
A satirical design. Very rine. Also the copy. (2) 


FAITHORNE, WILLIAM (the elder) 
345. Marearet Suitu, Wipow or THomas Cary. Line-engraving. 


Fagan, p. 60. 
After Van Dyck. Second state. ONE oF THE ENGRAVER’S 


. MOST BEAUTIFUL PORTRAITS. 


FAITHORNE, WILLIAM (the elder) 

346. THE Frontispiece To “THe Reicn or Kine CuHar es” (sec- 
ond edition). By Hamon L’Estrange, with a portrait 
of Charles I. Line-engraving. 

Fagan, p. 75. Only one state mentioned by Fagan. 
A VERY FINE IMPRESSION WITH THE PLATEMARK. 


GEORG JACOB FELSING 
Born in Darmstadt, 1802; died there, 1875. Pupil of Longhi. 
FELSING, GEORG JACOB 


347. Sr. Crecrza. Line-engraving. 


Apell, p. 142. No. 15. 
After H. Hofmann. First state. Proof with the artists’ 


names only, on India paper. VERY FINE. 


From the W. H. Daugherty Collection. 


PIERRE FILLEUL 


Son of Gilbert Filleul. The date of his birth is not known; died about 1750 
He engraved some plates for the Fables of La Fontaine. 


FILLEUL, PIERRE 
348. La Berire Bovevetirre. Line-engraving. 
Portalis and Beraldi, II, p. 182. 
After Paterre. FINE IMPRESSION WITH THE TITLE. 


Second Session, Monday Evening, April 12th 


J. PINLAYSON 


Born about 1730; died 1776. 


FINLAYSON, J. 


349. Exizaperu, Ducurss or ArcyLe (Duchess of Hamilton and 
Brandon). Mezzotint. 
C. Smith, Le eNoee 
After C. Read. First state. VERY FINE PROOF BEFORE 
THE NAME OF THE PERSONAGE. In perfect condition and 
with margin. The name inscribed with ink. Framed. 


EDWARD FISHER 


Born in Ireland, 17380; died in London, about 1785. Was at first a hatter, 
but took to engraving; went to London; became a member of the Incor- 
porated Society of Artists in 1766. “Fisher must be allowed a high place | 
for both breadth of treatment and delicacy of finish.”—CHatoner SmirHi 


FISHER, EDWARD 


350. Miss Saran Bunpury. Mezzotint. 
Smith, II. No. 6. 
Full length portrait after Sir Joshua Reynolds. Folio. 


First state. SUPERB PROOF BEFORE ALL LETTERS. 
From the W. Lawson Collection. . 


FISHER, EDWARD 


3851. Lapy ExizaserH Kerrey. Mezzotint. 
C-Smnith, IL -No.v236, 
After Sir Joshua Reynolds. Third state (of 5). Fine 
IMPRESSION before the first inscription was erased and re- 
engraved. IN PERFECT CONDITION. 


a portrait and that of “Lady Sarah Bunbury” are styled by Joubert, 
“pieces capitales du peintre et du graveur.” 

Born in 1739; daughter of second Earl of ‘AlGerrmetes one of Queen Char- 
lotte’s bridesmaids in 1761, in which character Rayuolds has painted her as 
above. Married June 7, 1764, Francis, Marquis of Tavistock, whose acci- 
dental death in March, 1767, she survived only till November 2, 1768. 


FISHER, EDWARD 


352. Horr Nursinc Love ( Miss Meio! Mezzotint. 
C-Smith, IL. --No. 63: 
After Sir Joshua Reynolds. First published state. Su- 
PERB IMPRESSION with small margin. A small tear on the 
right side, carefully mended. Very rare. 


Second Session, Monday Evening, April 12th 


FISHER, EDWARD 


353. Lapy AMABEL AND Lapy Jemima Yorke. Mezzotint. 
C. Smith, II. No. 61. 
After Sir Joshua Reynolds. First state. Proof before 
all letters, with large margin. A little defect in the paper 
scarcely visible. a 
Daughters of Philip Viscount Royston, who succeeded his father as 2d 
Earl Hardwicke in 1764. Lady Amabel Grey was born 1751, married 1772 


Alexander, Lord Polwath; died 1833. Lady Mary Jemima was born 1757; 
married 1780, Thomas, 2d. Lord Grantham; died 1830. 


CAMILLE FONCE 
(Contemporary French Painter-Etcher) 


FONCE, CAMILLE 


354, Licurrenp CarHeprat. Painter-etching. 
First state. Remarque proof on vellum, signed. Limited 
to 150 impressions.. Framed. 


FONCE, CAMILLE 


355. VittacE Ponp. Painter-etching. 
First state. Remarque proof on vellum, signed. Lim- 
ited to 150 impressions. Framed. 


THE SCHOOL OF FONTAINEBLEAU 


“The Chateau of Fontainebleau in France, of comparatively little import- 
ance under the reign of Saint Louis, but successively increased by Francis 
the First, Henry the Second, Francis the Second, Charles the Ninth and 
Henry the Fourth, became a magnificent palace composed of several bodies 
of buildings connected with each other and richly adorned with works in 
stucco and sculpture and, above all, with beautiful paintings in fresco by 
several famous artists of the sixteenth century. Contemporary engravers 
have preserved for us the greater part of the paintings with which the 
chateau was decorated in the times of its first splendor. These prints are 
very rare. They are, in most cases, the only records of paintings which 
have since perished.”—Barrtscu. 


FONTAINEBLEAU, THE SCHOOL OF 


356. BarrLe BerwEeEen Cavatry AND Foor Soupiers. Engraving. 
Bartsch, XVI. No. 96. 
After a design attributed to Lucas Penni. Rare. 


Second Session, Monday Evening, April 12th 


FRANCOIS FORSTER 
Born at Locle (Switzerland), 1790; died at Paris, 1872. 
FORSTER, FRANCOIS 
357. Divo anp Atneas. Line-engraving. 

Apell, ps 157, aNov ae 
After P. N. Guérin. First state. Proof before all let- 
ters, on India paper, with a dedication to the engraver, 
Herrmann Ejchens, in pencil. Framed. 


From the W. H. Daugherty Collection. 


JEAN HONORE FRAGONARD 


Born in Grasse, 1732; died in Paris, 1806. 
FRAGONARD, JEAN HONORE 


358. Saryr Famity. Painter-etching. 
Portalis and Beraldi, II, p. 210. No. 1. 
From the set of four. 


From the F. Wedmore Collection. 


Sir Frederick writes: “One of the rare Bacchanalian subjects by Fragonard, 
to which Dr. Lippmann was perhaps the first of present day writers to draw 
attention; though Prosper de Baudicour, in his continuation of Le Peintre- 
Graveur Francais (1859), had briefly catalogued them and eulogized the 
‘point extrémement spirituelle’ of their author. Quite recently, in Paris, they 
have been a good deal sought for.” 


FRAGONARD, JEAN HONORE 


359. L’Armorre. Painter-etching. 1778. 
Portalis and Beraldi, II, p. 210. No. 2. 
First state (of 3). Proof before letters. Rare. 


FERDINAND GAILLARD 


Born at Paris, 1834; died, 1887. “Great engraver! Gaillard is that to-day, 
and for all time, by his drawing, by his extraordinary and personal qualities 
of execution. A marvelous draughtsman, he possesses also that which makes 
the great masters of the graver; an individual manner which enables one to 


recognize his plates without the aid of his signature. . . . A Gaillard is 
as characteristic and is recognized as easily as a Robert Nanteuil.”—Br- 
RALDI. 


GAILLARD, FERDINAND 
360. Joannes Beviunus. Engraving. 
Beraldi, VI. No. 8. 


Fourth state. Proof before the copper was reduced in 
size. VERY SCARCE. 


Second Session, Monday Evening, April 12th 


GAILLARD, FERDINAND 


361. Gipipus. Engraving. 
Beraldi, VI. No. 24. 
After Ingres. Fifth state. Artist’s proof on India paper, 
signed with the point on the plate. 


GAILLARD, FERDINAND 


362. THe Man wirn THE Pink (L’Homme a L’Chitier). Engrav- 
ing. 
Beraldi, VI. No. 25. 
After Van Eyck. Fourth state. The first finished state 
with Gaillard’s signature in dry point on the plate to the 
right. VERY FINE PROOF ON Iyp1a PAPER. EXTREMELY 
RARE. 


GAILLARD, FERDINAND 


363. Popr Prius IX. Engraving. 
Beraldi, VI. No. 31. 
From life. Sixth state. The first finished state, before 
the publication line and before the second address below. 
VERY FINE PROOF ON INDIA PAPER. 


From the E. Burney Collection. 


GAILLARD, FERDINAND 
364. La CrépuscuLe (One of the figures from the Tomb of Lorenzo 
de Medici by Michel Angelo). Engraving. 
Beraldi, VI. No. 82. 
Fourth state. First published state. Signed with the 
point on the plate. Proof on India paper. 


From the E. Burney Collection. 


GAILLARD, FERDINAND 


365. Wax Bust. Engraving. 
Beraldi, VI. No. 86. 
After Raphael. Third state. Signed proof on loose India 


paper. 


Second Session, Monday Evening, April 12t 


GAILLARD, FERDINAND. 


366. Dom Prosper Guérancer, ABBE oF SoresmEs. Engraving. 
Beraldi, VI. No. 38. - 
After Gaillard’s painting. Twelfth state, first finished. 
VERY FINE PROOF ON INDIA PAPER AND EXTREMELY RARE. 


From the E. Burney Collection. 


GAILLARD, FERDINAND 


367. Porr Leo XIII. Engraving. 
Beraldi, VI. No. 39. 
From life. Fifth state. Before the change in the hair 
behind the ear. PRrEsENTATION PROOF To E. Burney, pupil 
of the engraver. 


GAILLARD, FERDINAND 


368. Mownsicnor Pie, BisHor or Porriers. Engraving. 
Beraldi, VI. No. 40. 
From life. Sixth state, first finished. Very FINE PROOF 
BEFORE THE COAT-OF-ARMS, ON [NDIA PAPER, AND EXTREME- 
LY RARE. 


From the E. Burney Collection. 


GAILLARD, FERDINAND 


369. ‘THE DiscipLes ar Emmaus. Engraving. 
Beraldi, VI. No. 43. : 
After Rembrandt. Eighth state. Artist’s proof, signed 
with the point on the plate, to the left. On India paper, 
in fine condition. PRESENTATION PROOF with the following 
dedication in the engraver’s handwriting: “Sowvenir bien 
affectueux offert a S. Gérard par Vauteur, F. Gaillard.” 


GAILLARD, FERDINAND 


370. St. Georcre. Engraving. 
Beraldi, VII. No. 45. 


After Raphael.. Thirty-first state. Signed proof on India 
paper. Framed. 


ee es re, 


Second Session, Monday Evening, April 12th 


GAILLARD, FERDINAND 


371. Swur Rosarie (Jeanne-Marie Rendu). Engraving. 
Beraldi, V. No. 48. 
After the engraver’s own design. Twenty-eighth state. 
VERY FINE IMPRESSION OF THE FIRST FINISHED STATE. Re- 
marque proof on India paper, the remarque being the 
portrait of St. Vincent de Paul. Very rare. 


“Le fond extrémement clair ainsi que la robe. Superbe. Tout lin- 
térét est reporté sur le visage.”—Beratot. 


GAILLARD, FERDINAND 


372. Portrair oF Ferprnanp Gaitiarp. Etching. 
Beraldi, LX, p. 216. 
By Tiburce De Mar. Proof on India paper. 


GIOVANNI BATTISTA GALESTRUZZI 


Born in Florence, 1618; died in Rome about 1665. 


GALESTRUZZI, GIOVANNI BATTISTA 
373. Strenus AccoMPANIED BY Fauns AND Satyrs. Painter-etch- 


ing. 
Bartsch, X XI. No. 14. 


First state. Fine 1mpREsSsION. VERY RARE. 


THOMAS GAUGAIN 
Born in Abbeville, 1748; died in London about 1810. 


GAUGAIN, THOMAS 
374. Cuitpish Impatience. Oval. Stipple. 


‘After Richard Cosway. Nicely printed in colors. 
Duplicate from the J. P. Morgan Collection. 


GAUGAIN, THOMAS 


375. Dancine Does. Stipple. 
After George Morland. Beautifully printed in colors. AN 
UNUSUALLY FINE IMPRESSION OF THIS MUCH ADMIRED PLATE. 
Framed. 
Companion to No. 376. 


Second Session, Monday Evening, April 12th 


GAUGAIN, THOMAS 


376. Guinea Pics. Stipple. 

After George Morland. Beautifully printed in colors. 
AN UNUSUALLY FINE IMPRESSION OF THIS MUCH ADMIRED 
ENGRAVING. Framed. 

Companion to No. 375. 


LEONARD GAULTIER (GALTER) 
Born at Mayence about 1561; died in Paris, 1630. 
GAULTIER (GALTER), LEONARD 


377. THree Cuinpren. Engraving. 
SUPERB IMPRESSION IN PERFECT CONDITION. Framed. 


JACQUES FABIEN GAUTIER D’AGOTY 


Born, 1717; died, 1786. Early Color-Engraver. 
GAUTIER D’AGOTY, JACQUES FABIEN 


378. Portrait oF VOLTAIRE 
After Gautier d’Agoty fils. For the ‘‘Galerie universelle, 


1772.” One of the early examples of color printing. 
VERY FINE AND EXTREMELY RARE. 


CLAUDE GELLEE (Called “Claude Lorrain’) 


Born 1600, at Champagne, a village on the Moselle, then in the ancient 
province of Lorraine; died in Rome, 1682. With the exception of his boy- 
hood and two years of wandering (as pastry cook), the whole of his life 
was passed and all of his work done in or near Rome. 


GELLEE, CLAUDE 
379, La Danse au Borp ve L’Eav. Painter-etching. 


Robert Dumesnil, I. No. 6. 
Second state. SUPERB IMPRESSION, IN PERFECT CONDITION. 


GELLEE, CLAUDE 


380. Le Bouvier. Painter-etching. 
Robert Dumesnil, I. No. 8. 
Second state. SupERB IMPRESSION, IN PERFECT CONDITION. 
From the Camberlyn Collection. 


“For technical quality of a certain delicate kind this is the finest landscape 
etching in the world.”—P. G. Hamerron. 


Second Session, Monday Evening, April 12th 


GELLEE, CLAUDE 


381. La Danse Sous tes Arsres. Painter-etching. 
Robert Dumesnil, I. No. 10. 
Second state. Fine impression, with three birds in the 
sky, and before the distant mountains had disappeared. 
Framed. 


From the Brentano-Birkenstock and W. S. Carter Col- 
lections. 


GELLEE, CLAUDE 


382. Le Sore, Coucuant. (This title has been changed lately to 
Sunrise”). Painter-etching. 
Robert Dumesnil, I. No. 15. 
First state. A VERY WONDERFUL IMPRESSION before the 
No. 11 and the artist’s name in the lower margin. Pron- 
ABLY THE FINEST IMPRESSION IN EXISTENCE. 


From the Alfred Hubert Collection. 


“Claude shows himself especially masterly in the Bouvier (R. D. 8), the 
Herd (R. D. 18), and the Dancing Shepherds (R. D. 6 and 10), and above 
all in the Harbor at Sunrise (R. D. 15), one of his most beautiful composi- 
tions. The delicate mist which the rays of the rising sun are just beginning 
to pierce, and which still hangs over the waters and envelops the figures, is 
represented with surpassing delicacy. As in the Bouvier, the warm, golden- 
red light of the evening sun clearly defines the objects, pierces through the 
foliage, and throws rich, dark shadows, so in the Harbor at Sunrise the 
rising sun shows the moist, cool atmosphere of mist in an even gray, out 
of which figures appear with ghostly indistinctness.”—KrisTELier. 


EMMANUEL DE GHENDT 
Born at Gand, 1738; died at Paris, 1815. Pupil of Aliamet. 
GHENDT, EMMANUEL DE 


383. Le Soir. Line-engraving. 
Portalis and Beraldi, p. 306. No. 1. 


After P. A. Baudouin. VERY FINE IMPRESSION. Framed. 


Second Session, Monday Evening, April 12th 


GIORGIO GHISI — 


Born at Mantua, 1520; died there, 1852. He has command of a firm 
and pleasing style. With better success than his master he strove to unite 
the solidity of Marcantonio’s execution with the delicate treatment of Ger- 
man Little Masters.”—Lippmann. 


GHISI, GIORGIO 


884. Carus Marius INTIMIDATING THE SoLtpIERS WuHo Have BEEN 
Sent To Kirt Hm. Engraving. 


Bartsch, XV. No. 26. 


Early impression. 


GHISI, GIORGIO 


385. BirtH or Memnon. Engraving. 1568. 
Bartsch, XV. No. 57. 


_ After Giulio Romano. Early impression. 


ALBRECHT GLOCKENTON (Master A. G.) 


Flourished in Upper Germany about 1480. Pupil of the elder Roger Van 
der Weyden. His plates are entirely wrought with the graver, in a neat 
but stiff style. He appears to have imitated the manner of Martin Schon- 
gauer, some of whose plates he copied. . 


GLOCKENTON, ALBRECHT (Master A. G.) 


386. Curist ENTERING JERUSALEM. Engraving. 


Bartsch, VI. No.2, 
From the A. Morrison and P. Gellatly Collections. 


GEORGE GLOVER 


Born, 1618. “He worked chiefly for the booksellers, and engraved several 
portraits of persons distinguished in English history. The portraits are 
his best work.”—Bryan. 


GLOVER, GEORGE 


387. Portrait or JoHn Fox, roe Marryroxocist. Line-engray- 


ing. 
VERY FINE IMPRESSION. 


Second Session, Monday Evening, April 12th 


HENDRIK GOLTZIUS © a 


Born at Mulbrecht, 1558; died at Haarlem, 1616. 
“Among his own countrymen Cort’s breadth of style was best appreciated . 
by Hendrick Goltzius, who came under the. influence of his school in Rome. 
Unfortunately, like most of his contemporaries, he suffered from the man- 
nerisms of his models—Spranger, Stradanus and the host of pseudo-classi- 
cists—but he was happier than the majority in his assimilation of some of 
the true character of classical art. His large ‘Massacre of the Innocents’ re- 
veals some real sympathy for the ideals of Michelangelo. The delight he 
i takes in rendering swelling curves, be they as bombastic as they will, is 
: irresistible. The “Standard Bearers’ is a magnificent example.’—Hunp-; 


GOLTZIUS, HENDRIK 


388. THe Massacre oF THE INNocENTs.  Painter-engraving. 
Dutuit, IV. No. 238. 
The plate has remained unfinished. Second state. Fine 
impression, with “Visscher excudit.”” Very scarce. 


From the Dr. Edward Peart Collection. 


“Elle est une de celles qu’il a gravées avec le plus de liberté de burin.”— 
BartscH. 


GOLTZIUS, HENDRIK 


389. Prieta (The Virgin Weeping Over the Dead Body of Christ, in 
Her Lap). Painter-engraving. 1596. 
Dutuit, IV. No. 41. 
Second state, with the date. AN IMPRESSION OF UNSUR- 
PASSED BRILLIANCY, AND IN PERFECT CONDITION. i 


From the R. Scholtz Collection. 


GOLTZIUS, HENDRIK 


390. Tue Sranparp-BEARER. Painter-engraving. 
Pci. LV. . No, 125. : 
SUPERB IMPRESSION IN PERFECT CONDITION; EXTREMELY 
RARE OF SUCH HIGH QUALITY. 


From the P. Remi and Baron Von Lanna Collections. 


GOLTZIUS, HENDRIK 


391. A Caprain or InFranrtry. Painter-engraving. 
Dutuit, IV. No. 126. 


SUPERB IMPRESSION IN PERFECT CONDITION. 
From the R. Scholtz Collection. 


Second Session, Monday Evening, April 12th 


GOLTZIUS, HENDRIK 


392. Lire Size Porrrair oF THE Encraver Himser. Painter- 
engraving. 
Dutuit,-1V. =No21 72: £ 
Second state. Proof before Goltzius’ name on the tab- 
let. PERHAPS THE MOST ADMIRABLE PORTRAIT EVER EN- 
GRAVED. In a beautiful proof well preserved for its size. 
Framed. 


GOLTZIUS, HENDRIK 


393. THe Son or Fristus, wirH His Doc. Painter-engraving. 
Dutuit, IV. No. 190. 
Second state (first finished). THis Is CONSIDERED THE 
FINEST PLATE OF THE MASTER AND IS QUITE RARE. A PAR- 
TICULARLY FINE IMPRESSION. Framed. 


JEAN GOURMONT 


(A French “Little Master’’) 


Flourished (Paris) about 1506-1526. “In Jean Gourmont we meet the best 
representative of the spirit of the Little Masters transplanted to France, and 
treated with considerable originality. He appears as a printer in Paris as 
early as 1506, but his engravings seem to belong to some two decades later, 
when he was working in Lyons.”—Hzrnp. 


GOURMONT, JEAN 


394. Tue Massacre oF THE Innocents. Painter-engraving. 
Robert Dumesnil, VII. No. 3. 
VERY FINE IMPRESSION AND EXTREMELY RARE. Duplicate 
from the British Museum. 


GOURMONT, JEAN 


395. Tur Fiacetuation. Painter-engraving. 
Robert Dumesnil, VII. No. 4. 
SUPERB IMPRESSION, AND VERY RARE. 


From the St. John Dent and Baron Von Lanna Collec- 
tions. 


These prints of the early French school, by masters such as Gourmont and 
Duvet, have a peculiar interest, because they appear before the strong Ital- 
ian element dominated French engraving and show us the early French 
art free from foreign influence. 


Second Session, Monday Evening, April 12th 


VALENTINE GREEN 


Born at Birmingham, 1739; died in London, 1813. 
_ GREEN, VALENTINE 


396. Lapy ExuizasetH Compron. Mezzotint. 
Gresmith: If. No. 27. 
After Sir Joshua Reynolds. First state. Proof before 
the name of the personage. The remainder of inscrip- 
tion in scratched letters. VERY FINE AND VERY RARE. 
Framed. 


GREEN, VALENTINE 


397. Ann, DucHEss or CumBERLAND. Mezzotint. 
C. Smith. No. 31. 
After Thomas Gainsborough and Richard Cosway. First 
state. A very delicate open letter proof. VeErRyY RARE. 
Framed. 


Eldest daughter of Simon Luttrell. Married, in 1771, H. R. H. the 
Duke of Cumberland. Died, 1803. 


GREEN, VALENTINE 


398. Henry Danvers, Eart or Dansy. Mezzotint. 
C. Smith, II. No. 384. 
After A. van Dyck. First state. Very rine. Proof be- 
fore all letters and the coat-of-arms. Framed. 


GREEN, VALENTINE 


399. Greorciana, Ducuess or DeEvonsHire. Mezzotint. 
Cy smith, IJ. No. 37. . 
After Sir Joshua Reynolds. First state. Supers pRoorF 
BEFORE THE NAME OF THE PERSONAGE. Remainder of in- 
scription in scratched letters. Framed. 


Eldest daughter of the Ist Earl of Spencer, born 1757; married 1774, to Wil- 
liam, 5th Duke of Devonshire. Died, 1806. 


GREEN, VALENTINE 


400. Mary Isapetua, Ducuess or Rutiannp. Mezzotint. 
Cesmith, Lf. No. 115. 
After Sir Joshua Reynolds. First state. Proof before 
the title. With large margin. Framed. 


Second Session, Monday Evening, April 12th 


GREEN, VALENTINE 


401. Emitry Mary, Countess or Sauisspury. Mezzotint. 
CSmith, LL aeNoevlG _ 
After Sir Joshua Reynolds. First state. Superb proof 
before the name of the personage. The remainder of the - 
inscription in scratched letters, and the paper cut down 
almost to the- engraved surface, showing below only the 
publication line in scratched letters. Duplicate from the. 
British Museum. Framed. 


GREEN, VALENTINE 


402. Benzamin WeEstT anv Son. Mezzotint. 
C. Smith, II. No. 138. : 
After a painting by himself. Only one state known. Very — 
FINE IMPRESSION. Framed. a 


From the Royal Collection at Windsor Castle. 


The first-named born in Pennsylvania in 1738, went to London, 1763; be- 
came President of the Royal Academy on the death at Reynolds, in 1792; 
died 1820; buried at St. Paul’s. 


GREEN, VALENTINE 


403. Master BrapsHaw anp His Sisrers (the Wright Family). — 


Mezzotint. 
CG. Smith, lle Nossa 
After Joseph Wright. First state. BrautiruL PROOF 
WITH THE ARTISTS?’ NAMES and the publication line in 
scratched letters. Large margin. 


GREEN, VALENTINE 


404, A Wiyter’s Tate. Mezzotint. 
C. Smith, Lea Nosio 
After Opie. First state. VrEry FINE PROooF, with the art- 
ists’ names in scratched letters, and before the inscrip- 
tion on margin was cleaned. AN IMPRESSION OF THE HIGH- 
EST ORDER AND IN PERFECT CONDITION. Framed. 


EK. GULLARD 
(Contemporary Mezzotint Engraver) 
GULLARD, E. 
405. IsaneL. Color-mezzotint. 
After Sir Henry Raeburn. VERY FINE PROOF nicely 
printed in colors and signed by the engraver. Framed. 


Second Session, Monday Evening, April 12th 


SIR FRANCIS SEYMOUR HADEN 


Born 1818; died 1910. Founder and President of the Royal Society of 
Painter-Etchers. “An artist of rare endowment and consummate skill. A 
master of foliage, he has drawn trees magnificently, both as to wood and 
leaves; there is no better stem or branch drawing than his in all contem- 
porary art.,—P. G. Hamerron. 

“By general consent Seymour Haden ranks as the greatest of modern land- 
scape etchers.”"—TuHt Mopern Discretes or REMBRANDT. 


HADEN, SIR FRANCIS SEYMOUR 


406: THames FisHerman. Painter-etching. Drypoint. 
Harrington, No. 11. Drake, No. 11. 
Second state. VERY FINE IMPRESSION AND EXTREMELY 
RARE. The plate was destroyed. One of the artist’s most 
beautiful dry-points. Framed. 


HADEN, SIR FRANCIS SEYMOUR 


407. Kenstncron Garprns (the smaller plate). Painter-etching. 
Harrington, No. 12. Drake, No. 12. 
State before the finished state. BEAUTIFUL SIGNED PROOF 
ON THIN JAPANESE PAPER. | 


HADEN, SIR FRANCIS SEYMOUR 


408. Ecuam. Painter-etching. 
Harrington, No. 15. Drake, No. 14. 
First state. The punt is white, and there are only three 
large birds in the sky. On laid paper. VeERy RaRE, 
TWELVE IMPRESSIONS ONLY IN THIS STATE HAVING BEEN 
PRINTED. The plate was destroyed. Framed. 


HADEN, SIR FRANCIS SEYMOUR 


409. On tHE Trst. Painter-etching. 
Harrington, No. 20. Drake, No. 19. 
First published state. Fine proor oN THIN JAPANESE 
PAPER. SicNep. Framed. 
“This plate and No. 20 (‘A Water Meadow’) were done on the same day, 


one at noon, the other very late in the evening. The Test (in Hampshire) 
is a famous trout stream.”’—Srymour Haven. 


Second Session, Monday Evening, April 12th 


HADEN, SIR FRANCIS SEYMOUR 


410. Earty Morninc—Ricumonp. Painter-etching. 
Harrington, No. 22. Drake, No. 21. : 
BEAUTIFUL PROOF ON THIN LAID PAPER. SienNED. The 
plate was destroyed. 


“The conception of the plate itself has a poetry of its own, and is filled with 
the freshness of morning.”—P. G. Hamerron. 


HADEN, SIR FRANCIS SEYMOUR 


411. THe Mourn or THE Broox. Drypoint. 
Harrington. No. 27. Drake. No. 25. . 
Trial proof C. (About 6 impressions.) SupERB IM- — 
PRESSION OF THIS EXTREMELY RARE AND CHOICE DRYPOINT. 
Signed proof on old laid paper. It has the following in- 
scription in Mr. MHaden’s handwriting: ‘Dromore, 
County Kerry, Ireland.” 


From the Tracy Dows Collection. 


HADEN, SIR FRANCIS SEYMOUR 


412. Kensincton Garpens (the larger plate). Painter-etching. 
Harrington, No. 28. Drake, No. 26. 
Signed proof on thin laid paper. ‘The plate was de- 
stroyed. 


“This study is one of the most accomplished of all of M. Haden’s.—Pu. 
Borty. 


HADEN, SIR FRANCIS SEYMOUR 


413. A By-roap 1x Tipperary. Painter-etching. 
Harrington, No. 30.. Drake, No. 28. 
First state. EXxcrEDINGLY FINE IMPRESSION. ExTREMELY 
RARE, there having been printed about 20 impressions only 
of the first and second states, when the plate was mislaid 
and greatly injured. Framed. ; 


HADEN, SIR FRANCIS SEYMOUR 


414. Comse Borrom.  Painter-etching. 
Harrington, No. 82. Drake, No. 29. 
First state. Drawn upon by the artist. 
From the Sir William Drake Collection. 


“The little piece is a jewel; it has most rare charm. It is very scarce and 
we advise the collector who comes upon it not to let it escape him.”—G. 
Bovurcarp. 


Second Session, Monday Evening, April 12th 


HADEN, SIR FRANCIS SEYMOUR 


415. SuHere Mitzi Ponp (the larger plate). Painter-etching. 
Harrington, No. 88. Drake, No. 35. 
Second state. FINE IMPRESSION ON LAID PAPER. SIGNED. 
Framed. 


“With the single exception of one plate, by Claude, this is the finest 
etching of a landscape subject that has ever been executed in the world.”— 
P. G. Hamerton. 


HADEN, SIR FRANCIS SEYMOUR 


416. SuNsET In IRELAND. Painter-etching. Drypoint. 
Harrington, No. 51. Drake, No. 44. 
: First state. SurERB PROOF ON THIN JAPANESE PAPER. 
SIGNED. Framed. 


“This plate, and also ‘A By-Road in Tipperary,’ were done in the park 
of Viscount Hawarden, in the most beautiful part of Tipperary.”—Sry- 
mourn Haven. 

“A Sunset in Ireland’ is Haden’s best work in dry-point, and it cer- 
tainly deserves its reputation as one of its author’s masterpieces. The 
quiet, peaceful sunset behind the dark masses of trees makes a plate of ex- 
quisite beauty. There are great differences in the various states, so that a 
choice among them is extremely difficult. The rich, dark, late-evening ef- 
fect of the second state is quite as fine in its way as the lighter and more 
delicate early-evening effect of the earlier impressions.”—ATHERTON CurTIs. 


HADEN, SIR FRANCIS SEYMOUR 


417. Barrersea Rreacuw. Painter-etching. 
Harrington, No. 52. Drake, No. 45. 
First state. Fine proof. Signed. Rare. 


“When a first state of this plate (anterior to the Gazette impressions) can 
be found—it is by far the best. Some, but not many, exist both on 
Japanese paper and on fine Verger.”—Srymour Hapen. 


HADEN, SIR FRANCIS SEYMOUR 


418. Yacur Tavern, Eriru. Painter-etching on a zinc plate. 
Harrington, No. 112. Drake, No. 101. 
Trial proof B. SupERB IMPRESSION ON LAID PAPER, SIGNED. 
In the following state—the published first state—the lady 
on the balcony has been burnished out. 


From the Tracy Dows Collection. 


Second Session, Monday Evening, April 12th 


HADEN, SIR FRANCIS SEYMOUR 


419. Tue Turret Sisters. Painter-etching. 
Harrington, No. 129. Drake, No. 116. : 
First state. Signed proof on Whatman paper. Framed. 


From the W. S. Carter Collection. 


“This and No. 115 were done in an old chase, in which is a hunting lodge 
which belonged to the Dukes of Northumberland. . . . It is one of 
the finest of our old English parks.”—Srymovur Hapewn. 


HADEN, SIR FRANCIS SEYMOUR 


420. BreakINGc UP OF THE AGAMEMNON. Painter-etching. 
Harrington, No. 145. Drake, No. 128. 
First state. Signed proof on Whatman paper, with the 
smoking chimney, a brig under sail, and other work in 
the distance beneath the bow of the boat. Suprrs IMPREs- 
SION AND VERY RARE. 
AUTOGRAPH PRESENTATION COPY, FROM THE ETCHER, With the following inscrip- | 


tion: “J. Beavington Atkinson, Esq., with Seymour Haden’s kind regards. 
1873.” 


“With such a subject as this for a motive, an etcher will do manly work 
if the strength to do it is in him. And this is manly work.”—P. G. 
HAMERTON. : 

“Perhaps, all things considered, the artist’s masterpiece.” — ArnEerTon 
CurtIs. 


HADEN, SIR FRANCIS SEYMOUR 


421. Cuattow Farm. Painter-etching. 
Harrington, No. 175. Drake, No. 158. 
First state. Signed proof. Very rine. Model proof 
for the printer, with the etcher’s note in pencil “bon a 
tirer 1903.” THE ARTIST ALWAYS CONSIDERED THIS ONE 
OF HIS FINEST PLATES. 


HADEN, SIR FRANCIS SEYMOUR 


422. A. LancasHirEe River. Painter-etching. 
Harrington, No. 215. Drake, No. 191. 
First trial. Supers PROOF oN WHATMAN PAPER. SIGNED. 


From the E. Ellingwood Collection. 


In Sir Seymour’s opinion this is a finer plate, “in the true artistic sense,” 
than “Shere Mill Pond.” 
“A well-known salmon pool on the Ribble.”—Harrreron. 


Second Session, Monday Evening, April 12th 


| HADEN, SIR FRANCIS SEYMOUR 


423. An Earty Riser. Painter-mezzotint. 
Harrington, No. 240. 
Second state with the clear sun. VERY FINE IMPRESSION 
ON CRESWICK PAPER. SIGNED. 


This plate won for the artist a gold medal when first exhibited at the Paris 
Exposition, 1900. 


WILLIAM HAMILTON 


HAMILTON, WILLIAM 


424. Tue Four Strasons.- Stipples. Circular. 

Spring and Summer engraved by G. S. and J. G. Facius. 
: Autumn and Winter engraved by J. B. Michel. Britiiantr 
OPEN LETTER PROOFs printed in red, with full margins. 


From the W. Lawson Collection. (4) 


SIMON VISCOUNT NEWHAM HARCOURT 


HARCOURT, SIMON VISCOUNT NEWHAM 


425. Venus anp Cupip. Stipple. About 1800. 
Very nicely printed in colors. 


FRANCIS HAWARD 
Born in London, 1759; died there, 1797. 


HAWARD, FRANCIS 


426. Mrs. Sippons as THE Tracic Muss. Stipple. 
After Sir Joshua Reynolds. FINE impression of this 


famous engraving. 


ISIDORE-STANISLAS HELMAN 


Born in Lille, 1743; died in Paris, 1806. 
HELMAN, ISIDORE-STANISLAS 


427. Le Jarpintier Gatant. Line-engraving. 1778. 
Portalis and Beraldi, II, p. 394. No. 1. 
After P. A. Baudouin. SupERB IMPRESSION AND RARE IN 
SUCH FINE QUALITY. 


Second Session, Monday Evening, April 12th 


LOUIS PIERRE HENRIQUEL-DUPONT 


Born in Paris, 1797; died there, 1892. Pupil of P. Guérin and Bervic. 


HENRIQUEL-DUPONT, LOUIS PIERRE 


428. Martace Mystiaur DE STE. CATHERINE D’ALEXANDRIE. Line- 
engraving. 
Apell, p. 128. No. 6. . 
After Correggio. Second state. VERY BRILLIANT PROOF 
BEFORE ALL LETTERS ON INDIA PAPER. SIGNED BY THE EN- _ 
GRAVER. ee 


HENRIQUEL-DUPONT, LOUIS PIERRE 


429, PETER THE Great. Line-engraving. 
Apell, p. 129. No. 26. 
After Paul Delaroche. First state. Proof before all let- 
ters. With autograph dedication by the engraver to his 
brother-in-law. 


CHARLES HOWARD HODGES 


Born in England, 1764; died in Amsterdam, 1837. 


HODGES, CHARLES. HOWARD 


430. De Scurreprs-BouwmesstTeErR (The ship-builder and his wife). -. 
Mezzotint. 1802. ioe: 
Andresen, I, p: 672:-9 Noa: 
After Rembrandt. First state.. Proof with the artists’ 
names in etched letters. Framed. 


WENZESLAS HOLLAR 


Born at Prague, 1607; died in London, 1677. 


HOLLAR, WENZESLAS 


431. Tue Four Seasons (represented by figures to the knee). 
Painter-etchings. 
Garthey. Nos. 606 to 609. 


VERY FINE IMPRESSIONS WITH LARGE MARGINS. (4) . 


ae ae 


Second Session, Monday Evening, April 12th 


DANIEL HOPFER 


Worked at Augsburg from 1493 until 1536. ‘Another interesting group of 
etchers at this period is that of the Hopfers.of Augsburg. Daniel Hopfer, 
who was already working in Augsburg in 1493, was certainly one of the 
first, if not the earliest, of the German artists to practice etching in our 
sense of the word. He used it, like many another before him, for orna- 
menting armour and guns, and the majority of his rough etchings were in- 
tended as little more than patterns for the goldsmith or sculptor.”—Hrnp. 


HOPFER, DANIEL 
432, “Horrart GET vor DEM VERDERBEN” (Proverb of Solomon). 
Etching. 
Not mentioned by Bartsch. 
FINE impression with the plate-number 59. 


From the Count Enzenberg and ‘“‘E. S.” Collections. 


HOPFER, DANIEL 


433. Curist oN THE Cross. Etching. 
Bartsch, VIII. No. 12. 


FINE IMPREsSION with the plate-number 120. 


From the S. Scheikevitch Collection. 


HOPFER, DANIEL 


434, Tue Crucirix. Etching. : 
Bartsch, VIII. No. 138. | 


VERY FINE, EARLY IMPRESSION, before the plate was num- 


bered. 
From the S. Scheikevitch Collection. 


HOPFER, DANIEL 


435. Tur Last Jupement. Etching. 
Not mentioned by Bartsch. 
VERY FINE IMPRESSION. 


HOPFER, DANIEL 


436. “Gre Fri” (The devil beaten by three old women). Etching. 
Bartsch, VIII. No. 71. 


FINE, EARLY impression before the plate was numbered. 


From the W. Bell Scott and H. S. Theobald Collections. 


Second Session, Monday Evening, April 12th 


JACOB HOUBRAKEN 
Born at Dordrecht, 1698; died at Amsterdam, 1719. 
HOUBRAKEN, JACOB 


437. Porrrair or JoHN Lorp THuRLow (Secretary to Oliver Crom- 
well). Line-engraving. 
A. Ver Huell, p. 111.- No. 53. _ 
After Cooper. VERY FINE IMPRESSION OF THE FIRST EDI- 
TION WITH LARGE MARGINS. 


HOUBRAKEN, JACOB 


438. Count ZinzeENporF (Founder of the Moravians). Line-en- 
graving. 1764. 
A. Ver Huell. No. 488. 


FINE IMPRESSION ON SATIN. Framed. 


RICHARD HOUSTON 


Born in Dublin, 1722; died in London, 1775. He was apprenticed to Brooks, 
and thus became a fellow-pupil with MacArdell, whom at the outset of 
his career he was considered to rival, if not even to surpass, in spirit and fire. 
He went to London about the same time as MacArdell, and established him- 
self near Drummond’s, at Charing Cross, from which address he issued some 
of his most successful productions after Rembrandt and others. 

“His manner was bold and vigorous when his subjects required such treat- 
ment, as in the rugged pictures of Rembrandt.”—Atrrep WHITMAN. 


HOUSTON, RICHARD 


439. Man Hoxpine a Knire. Mezzotint. 
C. Smith, II. No. 146. 
After Rembrandt. First state. Splendid proof before all 


letters. VERY RARE. 


HOUSTON, RICHARD 


440. An Oty Woman Puucxine A Fowu. Mezzotint. 
C. Smith, II. No. 148. 
After Rembrandt. First state. Proof before all letters. 
SUPERB IMPRESSION IN PERFECT CONDITION, WITH AMPLE 
MARGINS. 


From the Baron Von Lanna Collection. 


Second Session, Monday Evening, April 12th 


HOUSTON, RICHARD 


441. Tuer Synpics. Mezzotint. 
C. Smith, II. No. 149. 


After Rembrandt. First state. Proof with the artists’ 
names in scratched letters and before the margin was 


cleaned. VERY FINE. Framed. 


HENRY HUDSON 
(Mezzotint-Engraver ) 


Flourished in 1782-1793. 


HUDSON, HENRY. 


442. Mrs. Curtis 
Cy Smith, 11, —No. 1. 


After H. Walton. Proof before all letters. 


Framed. 


VERY FINE. 


ae 


THIRD SESSION 


TUESDAY AFTERNOON, APRIL 13, 1915 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 443 to 654 inclusive 


FRANCOIS ROBERT teseunr INGOUF 


Born in Paris, 1747; died there, 1812. Brother of Pierre Charles Ingouf. 


Pupil of Ingouf. 


-INGOUF, FRANCOIS ROBERT Lejeune 


443. La PromenapEe pu Matin 
line-engravings after I. H. E. 1774. 
Portalis and Beraldi, I, p. 456. No. 8. 

A FINE PAIR. (2) 


PIERRE CHARLES INGOUF 


Born in Paris, 1746; died there, 1800. Brother of Francois Robert Ingouf. 


Pupil of Flipart. 
INGOUF, PIERRE CHARLES 


444, Venus Tyne tHe Wines oF Love. Line-engraving. 


After Mme. Vigée-Le Brun. Very FINE Proor with the 


name of the painter only. In perfect condition. 


FRANCOIS JANINET 


Born at Paris, 1752; died there, 1813. “He seems to have introduced color- 
printing into France. His work is almost entirely reproductive, and embraces 
a multitude of subjects, from landscape and genre to portrait.”—H1np. 


JANINET, FRANCOIS 


445. L’acrtaste Necuickt. Color-engraving. 
Portalis and Beraldi, II, p. 476. No. 1. 
After Baudouin. 


LA PROMENADE pvU Soir. 


“There is a pretty quartet of ovals in square borders imitating marble: the 
one mentioned above, which is the same subject as Chavillet’s line-engraving 
‘Le léger vétement’ and its pendant, ‘L’aimable Paysanne, after Saint- 
Quentin; ‘Ia Compagne de Pomone’ and ‘La Réunion des Plaisirs,’ after Le 
Clere.”—M. C. Saraman. 


Third Session, Tuesday Afternoon, April 13t 


JANINET, FRANCOIS 


446. Le Cutts SystematiavE. Color-engraving. 
Portalis and Beraldi, I, p. 476. No. 10. 
After Caresme. VERY FINE COLOR-PRINT. Companion 
to No. 447. 


JANINET, FRANCOIS 


447, Baccuus Pritsipr A ta Férse. Color-engraving. 
Portalis and Beraldi, II, p. 476. No. 11. 
After Caresme. Of the same quality as the preceding. 
Companion to No. 446. 


JANINET, FRANCOIS 


448. L’amour. Color-engraving. 
Portalis and Beraldi, I, p. 477. No. 25. 
After J. H. Fragonard. ExcEEDINGLY FINE AND RARE; 
with large margin. Companion to No. 449. 


“Among Janinet’s earlier essays in color-engraving are the two dainty little 
prints after Honoré Fragonard, done in 1777. They are two of the most 
highly prized of all color-prints of the period, exceedingly costly, and 
rare are the occasions when they are purchasable. Of trifling grace in 
design, they have, with their warm yet delicate tints, that inexpressible 
mystery of charm which is the very essence of Fragonard, and this, one 
feels, Janinet must have transferred with magic felicity to his copper- 
plates.,-—M. S. Sataman. 


JANINET, FRANCOIS 


449. La Fore. Color-engraving. 
Portalis and Beraldi, I, p. 477. No. 26. 
After J. H. Fragonard. Of exactly the same quality as 
the preceding. Companion to No. 448. 


JANINET, FRANCOIS 


450. La Conriance Enrantine—La Cratinte ENFANTINE. Color- 
engraving. 
Portalis and Beraldi, I, p. 478. Nos. 29 and 80. 
Both after S. Freudeberg. Two vERY FINE COLOR-PRINTS. 


(2) 


Third Session, Tuesday Afternoon, April 13th 


JANINET, FRANCOIS 


451. L’aveu Dirricire. Color-engraving. 1787. 
Portalis and Beraldi, II, p. 479. No. 39. 
After N. Lavreince. ExcrEpINGLY FINE AND 


JANINET, FRANCOIS 


452. La Comparaison. Color-engraving. 1786. 
Portalis and Beraldi, p. 479. No. 40. 
After N. Lavreince. Of the same quality as 


ing. 


JANINET, FRANCOIS 


453. L’inpiscreTIoN. Color-engraving. 
Portalis and Beraldi, p. 479. -No. 41. 
After N. Lavreince. Of the same quality as 


ing. 


JANINET, FRANCOIS 


454. Ha! re Jou Petir Curen—Le Petit ConseIt. 


gravings. 


Portalis and Beraldi, Il, pp. 479, 480. Nos. 


VERY RARE. 


the preced- 


the preced- 


Color-en- 


44 and 45. 


Both after N. Lavreince. A BEAUTIFUL PAIR OF COLOR- 


PRINTS. (2) 


-JANINET, FRANCOIS 


455. MapemotseLtE Du T. (Rosalie Duthé) mistress of the 


Comte d’Artois. Color-engraving. 7 
Portalis and Beraldi, II, p. 485. No. 124. 
After J. A. Lemoine. SupEersB IMPRESSION. 


One of the 


most graceful and charming portraits of the eighteenth 


century. 
From the O. Humphrey Collection. 


“Another lady of the opera, but of less operatic and more piquant interest, 
perhaps. In this engraving Catherine-Rosalie Girard, whose nom-de-guerre 
was Duthé, is presented with a charming and characteristic vivacity. We 
see her in her private life—if anything in her life could be considered pri- 


vate.”—M. C. SaALamMaAn. 


Third Session, Tuesday Afternoon, April 13th 


JOHN JONES 


Born in London about 1745; died there, 1797. Mezzotint-Engraver. 


JONES, JOHN 


456. Epmunp Burxe. Mezzotint. 
C:-Smith, Lis Novalals 
After George Romney. Before the first state described 
by Smith. ExrrEMELY FINE PROOF BEFORE ALL LETTERS, 
WITH LARGE MARGIN. 


JONES, JOHN 


457. Mrs. Coartorre Davenrort. Mezzotint. 
C. Smith, If. No. 17. , 
After George Romney. Only one state described. VERy 
FINE, EARLY IMPRESSION before the margin was cleaned. 
Framed. 


JONES, JOHN 


458. Lapy Hamitton as Emma. Stipple. 
After George Romney. Proof before letters. Very FINE. 
Framed. . 


RICHARD JOSEY 


Contemporary English mezzotint-engraver. 
JOSEY, RICHARD 


459. Porrrarr or THomas Cartyte. Mezzotint. 
After Whistler. Artists’ proof on India paper, signed 
by both artists. WuisTLER HAS SIGNED THIS PROOF WITH 
HIS NAME BESIDES HIS BUTTERFLY. 
“The rugged simplicity of Carlyle—a simplicity which his own generation 
received with so naive an admiration—is suggested, not only with skill of 
hand, but with the mental skill that discovers quickly, in presence of a sub- 
ject, wherein lies the best opportunity for high success in treating it.”— 
FREDERICK WEDMORE. 


F. JUKES 
JUKES, F. 


460. CourtsHip—Matrimony. Aquatints. 
Both after Williams. A vERY FINE PAIR IN COLORS. 
VERY RARE. Framed. (2) 


pees 


Third Session, Tuesday Afternoon, April 13th 


JOSEPH KOHLSCHEIN 


Diisseldorf. Second part of the Nineteenth century. Pupil of Jos. Keller. 
KOHLSCHEIN, JOSEPH 


461. Tue Hory Famiry. Line-engraving. 
Apell, p. 220. No. 1. 
After Ittenbach. First state. Artist’s proof on India 
paper. Framed. 


KOHLSCHEIN, JOSEPH 


462. Sv. Ceca. Line-engraving. 
Apell, p. 221. No. 4. 
After Raphael. First state. (One of the keys of the 
instrument lying on the ground is still white.) Remarque 
proof on India paper. Signed by the engraver. Supers 
IMPRESSION. Framed. 


CHARLES KNIGHT 
Born in London about 1743; died there about 1825. 


KNIGHT, CHARLES 


463. Lapy Hamitron as Baccuanre. Stipple. 
After George Romney. VERY FINE OPEN LETTER PROOF. 


LUDWIG KNAUS 


Celebrated German genre painter in the second part of the nineteenth 
century. 


KNAUS, LUDWIG 


464. THE Baptism 
Engraved in mixed manner by J. Ballin. 
THe MountTEBANK 
Engraved in mixed manner by Paul Girardet. Boru FINE 
PROOFS BEFORE ALL LETTERS on India paper. Framed. 


(2) 


Third Session, Tuesday Afternoon, April 13th 


NICOLAS DE LARMESSIN 
Born in Paris, 1684; died there 1755. 
LARMESSIN, NICOLAS DE 


465. Le Jeu pu Prep vE Bevur. Line-engraving. 
Portalis and Beraldi, II, p. 534. No. 4. 
After N. Lancret. Framed. 


LARMESSIN, NICOLAS DE 


466. Porrrarr or Craupe Haxr1é (painter to the King). Line-en- 
graving. 1730. | 

Portalis and Beraldi, II, p. 585. No. 19. : 

After Le Gros. Engraved by Larmessin for his reception 

at the Academy. ) 


JEAN NICOLAS LAUGIER 


Born at Toulon, 1785; died, 1875. 
LAUGIER, JEAN NICOLAS 


467. Pyemation AMOUREUX DE sA Statue. Line-engraving. 1819. | ¥ 
Andresen, Il, p. 21." No. 10: 
After Girodet-Trioson. First state. Artist’s proof, be- 
fore the Greek inscription. Framed. 


NICOLAS DE LAUNAY 


Born in Paris, 1739; died there, 1792. “An expert in the command of light. 
De Launay was also a singularly even engraver, and one always displaying 
conscientiousness of treatment combined with great facility of execution. 
For him difficulties did not exist, as may be realized from an examination 
of his treatment of many a scene which, at first sight having the appear- 
ance of simplicity itself, is really the result of careful and masterly execu- 
tion.”—RatpH NEvILL. 


LAUNAY, NICOLAS DE 


468. L’anus pE LA Crépuuirt. Line-engraving. 
Portalis and Beraldi, II, p. 545. No. 1. 
After E. Aubry. Five impreEssIoN BEFORE THE DEDICA- 
TION and the publisher’s address. VERY RARE IN THIS 
STATE. 


1 
| 
i 
| 
| 
i 
| 


Third Session, Tuesday Afternoon, A pril 13th 


' LAUNAY, NICOLAS DE 


469. Le Carauois Epuist. Line-engraving. 
Portalis and Beraldi, II, p. 545. No. 3. 
After P. A. Baudouin. First state. Proof before the title. 
VERY FINE. 


LAUNAY, NICOLAS DE 


470. Les Sorns Tarpirs. Line-engraving. 
Portalis and Beraldi, II, p. 545. No. 4. 
After P. A. Baudouin. 


LAUNAY, NICOLAS DE 


471. La Gaver dE Sittne. Line-engraving. 
Portalis and Beraldi, II, p. 545. No. 8. 
After N. Bertin. Framed. 


LAUNAY, NICOLAS DE 


472. Le Cuirrre D’amovr., Line-engraving. 
Portalis and Beraldi, II, p. 246. No. 9. 
After J. H. Fragonard. Framed. 


LAUNAY, NICOLAS DE 


473. Les Hasarps Hevurevux pe v’Escarporerre. Line-engraving. 
Portalis and Beraldi, I, p. 546. No. 12. 
After J. H. Fragonard. Swuprers impression, but very 
closely trimmed. Rare. This is one of the two or three 
most celebrated French line-engravings, of the eighteenth 
century. 


LAUNAY, NICOLAS DE 


474. L’tpucation Farr Tour. Line-engraving. 
Portalis and Beraldi, II, p. 546. No. 18. 
After J. H. Fragonard. Proof before the dedication. 
VERY FINE AND RARE. 


LAUNAY, NICOLAS DE 


475. Le Petit Prepicareur. Line-engraving. 
Portalis and Beraldi, II, p. 546. No. 14. 
After J. H. Fragonard. VeERy FINE, WITH UNCUT MARGIN. 


Third Session, Tuesday Afternoon, April 13th 


LAUNAY, NICOLAS DE 


476. L’HEvuREUSE Frconpirs. Line-engraving. 


LAUNAY, NICOLAS DE 
ATT. 


LAUNAY, NICOLAS DE 


478. Les Bricnets. Line-engraving. 


LAUNAY, NICOLAS DE 
479. Le Perir Jour. Line-engraving. 


LAUNAY, NICOLAS DE 


480. La CompiaisANcE MaTERNELLE. Line-engraving. 


LAUNAY, NICOLAS DE 
481. 


Portalis and Beraldi, Il, p. 546. No. 15. 
After J. H. Fragonard. Five impression in perfect con- — 
dition. Of the same importance as No. 473. 


“DiTEsS DONC s’IL-vous-pLalt.” Line-engraving. 
Portalis and Beraldi, I, p. 246. No. 16. 
After J. H. Fragonard. Framed 


Portalis and Beraldi, I, p. 546. No. 17. 
After J. H. Fragonard. Proof before the dedication. 


VERY FINE AND RARE. 


Portalis and Beraldi, I, p. 546. No. 18. a 
After S. Freudeberg. Proof before the dedication and 
the address. VERY FINE. 


“One of the finest French eighteenth century engravings, always in great 
request.”—RatpH NEvILt. 


Portalis and Beraldi, II, p. 546. No. 19. 
After S. Freudeberg. 


Le Bitter Dovux. Line-engraving. 
Portalis and Beraldi, I, p. 547. No. 23. 
After N. Lavreince. Proof before letters, but with the 
coat-of-arms. SUPERB IMPRESSION OF THIS GRACEFUL COM- 
POSITION. Framed. 


Third Session, Tuesday Afternoon, April 1 3th 


LAUNAY, NICOLAS DE 


482. La ConsoLaTion DE L’ABsENCE. Line-engraving. 
Portalis and Beraldi, II, p. 547. No. 24. 
After N. Lavreince. VERY FINE IMPRESSION ON LARGE 
PAPER. 


“In “Consolation de Absence’ we have a technical masterpiece.”—G. S. Hr1- 
MAN. 


LAUNAY, NICOLAS DE 


483. L’HEUREUX Moment. Line-engraving. 
Portalis and Beraldi, II, p. 547. No. 25. 
After N. Lavreince. Proof with the coat-of-arms and vane 
of the inscription. VEry FINE. Framed. 


LAUNAY, NICOLAS DE 


484. Qu’EN Dir L’Asspe? Line-engraving. 
Portalis and Beraldi, I, p. 547. No. 26. 
After N. Lavreince. Slightly defective. 


LAUNAY, NICOLAS DE 


485. MarcHE DE SILENE. Line-engraving. 
Portalis and Beraldi, II, p. 548. No. 32. 
After P. P. Rubens. Second rate. Proof before the dedi- 
cation. VERY FINE AND WITH UNCUT MARGIN. In per- 
fect condition. 


LAUNAY, NICOLAS DE 


486. AncéLIqguE ET Mépore. Line-engraving. 
Portalis and Beraldi, II, p. 548. No. 82. 
After Raoux. FINE IMPRESSION, IN. PERFECT CONDITION. 
Framed. 


ROBERT DE LAUNAY 
1754—1814. 
LAUNAY, ROBERT DE 


487. Le Martace Concuu, after Borel. 
Le Marisce Rompv, after E. Aubry. Both line-engravings. 
Portalis and Beraldi, II, p. 555. No. 3. (2) 


Third 8 ession, Tuesday Afternoon, April 13th 


HANS SEBALD LAUTENSACK 


Born at Bamberg, 1524; died in Vienna between 1560 and 1563. Son of — 
Paul Lautensack, a painter in Bamberg. While yet a child his parents 
settled in Niirnberg, and he lived there during the greater part of his life. 
From 1558 and until his death he worked in Vienna. 


LAUTENSACK, HANS SEBALD 


488. View or A River witH A CAsTLE ON AN IstaAnp.  Painter- 
etching. 1553. 
Bartsch, IX. No. 39. 


A VERY FINE IMPRESSION. 


From the Baron Von Lanna Collection. 


This is an interesting example of the primitive school of German landscape 
which was best illustrated by the work of Lautensack and Hirschvogel. 


JACQUES-PHILIPPE LEBAS 


Born in Paris, 1707; died there, 1783. “It is no exaggeration to say that Le 
Bas is the most complete incarnation of eighteenth century engraving.” 
(Porrauis.) Many of the artists of the second half of this century grad- 
uated under Le Bas. He was also the tutor of the English artists, Strange 
and Ryland. 


LEBAS, JACQUES-PHILIPPE 
489. Legon p’Amovur. Line-engraving. 
After J. B. Greuze. Not mentioned by Portalis and Ber- 
aldi, nor Andresen. SuPERB PROOF BEFORE ALL LETTERS 
WITH THE COAT-OF-ARMS. | 
From the Firmin-Didot Collection. 


LEBAS, JACQUES-PHILIPPE 
490. Tue Batuers. Laine-engraving. 
After Poelenburg. Not mentioned by Portalis and Ber- 
aldi, nor Andresen. Proof before all letters, but with 
the coat-of-arms. 


From the W. H. Daugherty Collection. 


Third Session, Tuesday Afternoon, April 13th 


PIERRE ADRIEN LE BEAU 
Born, 1748; died, 18—. 
LE BEAU, PIERRE ADRIEN 


491. Le Lever pe ta Marrée. Line-engraving. 
Portalis and Beraldi, II, pp. 598-594. 
After Dugoure. Proof before the title. 


ACHILLE DESIRE LEFEVRE 


~ Born in Paris, 1798; died there, 1864. One of the foremost French line- 
engravers of the Nineteenth century. 


LEFEVRE, ACHILLE DESIRE 


492. THe Immacutate Conception. Line-engraving. 

Apell, p. 2838. No. 1. 

- After B. E. Murillo. (Originally painted for the church 
“Los Venerables” in Seville and hung there. Marshal 
Soult captured it about 1809. It now hangs in the 
Louvre.) First state. Proof on India paper with the 
engraver’s name signed on the plate with the point. 
SUPERB IMPRESSION. Framed. 


From the W. S. Carter Collection. 


LEFEVRE, ACHILLE DESIRE 


493. Le Sommett p’Antiore. Line-engraving. 
Apell, p. 284. No. 7. 
After Correggio. First state. Artist’s proof on India 
paper. VERY FINE IMPRESSION. 


LOUIS LE GRAND 
Flourished in Paris about 1751—1784. 


LE GRAND, LOUIS 


494, Le Bon Jour. Stipple. 
After Julia Conyers. Nicely printed in colors. Framed. 


Third Session, Tuesday Afternoon, April 13th 


ALPHONSE LEGROS 


“Born at Dijon nearly sixty years ago, Legros has been amongst us since — 
1868. But it is not English life—or, indeed, any life—that has made hin ~ 
what he is. . . He has been fed on the Renaissance, and on Rem- ~ 


brandt; but yet the originality of his mind pierces through the form it has 7 


pleased him to impose on its expression. He gives to masculine character 4 
nobility and dignity.”—-Freperick WrpMorE. | { 
LEGROS, ALPHONSE 


495. Le Paysace a LA Mer. Painter-etching. 
Beraldi. No. 107. 


First state, before the plate was reduced in size. Macniri- — 


CENT IMPRESSION ON JAPANESE PAPER... VERY RARE. 


Framed. 
From the W. S. Carter Collection. 


- LEGROS, ALPHONSE 


496. Ture Canat. Painter-etching. 
Beraldi. No. 178. 


Fifty proofs only were printed and the plate destroyed. 
This is No. 7. Framed. ; 


AUGUSTE LEPERE 
Born in Paris, 1849. 
LEPERE, AUGUSTE 


497. Ruemms CaTHEDRAL. Painter-etching. 


Signed artist’s proof (No. ah on laid paper. The plate 
destroyed. 


BERNARD LEPICIE 


Born in Paris, 1698; died there, 1755. 


LEPICIE, BERNARD 


498. Mapame CuHartotrre Desmares As Tua. Line-engraving. 
1733. 
After C. Coypel. Fixe mvpression. Framed. 
Portalis and Beraldi, II, p. 665. No. 82. 


Third Session, Tuesday Afternoon, April 13th 


REVEE ELIZABETH M. LEPICIE 


Born, 1714; died in Paris, 1773. 
LEPICIE, REVEE ELIZABETH M. 


499. La JEUNESSE sous LES HapiLLEMENS DE LA D&cREPITUDE. 
(Mme. Coypel, wife of the Painter.) Line-engraving. 
ZS I, 
Portalis and Beraldi, IH, p. 662. 
After Coypel. FINE Impression. 


PIERRE CHARLES LEVESQUE 


Born in Paris, 1727; died there, 1812. 
LEVESQUE, PIERRE CHARLES 


500. Ericone Varncvue. Line-engraving. 
Portalis and Beraldi, II, p. 712 


After Deshayes. StpERB IMPRESSION IN PERFECT CONDI- 


TION. 


JEAN ETIENNE LIOTARD 


Born in Geneva, 1702; died in Paris, 1789. 


LIOTARD, JEAN ETIENNE 


501. Porrrair or Himsextr. Mezzotint. 
Andresen, II, p. 63. No. 2. 
After his own drawing. VERY RARE. 


GIUSEPPE LONGHI 


Born at Monza, 1766; died at Milan, 1881. Succeeded Vangelisti as head 
of the School of Engraving at Milan. 


~LONGHI, GIUSEPPE 


502. Lo Sposatizio. Line-engraving. 
Apell, p. 248.°* No. 3. 
After Raphael. Second state. Proof with four verses in 
skeleton letters. VERY FINE AND RARE. Framed. 


Third Session, Tuesday Afternoon, April 13th 


LONGHI, GIUSEPPE 


503. Tur Reapine Macparten. Laine-engraving. 
Apell, p. 249. No. 14. | 
After Correggio. First state. Proof before letters and 
before the coat-of-arms, with engraver’s name only in very 
small letters. SPLENDID IMPRESSION IN PERFECT CONDITION 
AND EXTREMELY RARE. 


LONGHI, GIUSEPPE 


504. TriumpH or GauatTea. Line-engraving. 
Apell, p. 2502 No.3; 
After F. Albani. First state. Proof before all letters. 
VERY RARE AND FINE. Framed. 


LONGHI, GIUSEPPE 


505. “Le Dezicre Marrerne” (Lady Burgersh and Child). Line- 
engraving. 1823. 
Apell, p.250..9 Nowa 
After Sir Thomas Lawrence. First state. Proof with the 
engraver’s name only. Very Fine. With large margin 
and the engraver’s stamp. 


JOSEPH DE LONGUEIL 


Born at Givet, 1730; died at Paris, 1792. Pupil of Le Bas, Aliamet and 
Wille. He carried vignette engraving to a high state of perfection. 


LONGUEIL, JOSEPH DE 


506. Correction Maternetie. Line-engraving. 
Portalis and Beraldi, II. p. 787. No. 1. 
After E. Aubry. Proof with only one line of the inscrip- 
tion. Framed. 


PIETER LOUW 
Born in Amsterdam, 1720; died there about 1800. Mezzotint-Engraver. 
LOUW, PIETER 


507. A STANDARD-BEARER. Mezzotint. 
Andresen, Lp sso Noes 
After Rembrandt. First state. Proof before all letters. 


From the Baron Von Lanna Collection. 


Third Session, Tuesday Afternoon, April 13th 


LUCAS 
End of the XVIIIth century. 
LUCAS, 


508. L’ExEMPLE DES MERES. Line-engraving. 
After Jeaurat. Framed. 


JOHN LUCAS 
* Born, 1807; died, 1874. Mezzotint-Engraver. 
LUCAS, JOHN 


509. Lorp Curer Justice Trnpau. Mezzotint. 1835. 
After a painting by the engraver. First state. Superrs 
PROOF BEFORE THE INSCRIPTION. Framed. 


From the W. H. Daugherty Collection. 


PIERRE MALEUVRE 


Born in Paris, 1740; died there, 1808. Pupil of Beauvarlet and Strange. 
MALEUVRE, PIERRE 


510. L’enrant Gars. Line-engraving. 
Portalis and Beraldi, II, p. 765. No. 3. 
After J. B. Greuze. Artist’s proof. Very rine. Framed. 


MALEUVRE, PIERRE 


511. Lz Bounporr. Line-engraving. 
Portalis and Beraldi, II, p. 765. No. 5. 
After S. Freudeberg. 


JOHANN AUGUST EDWARD MANDEL 


Born at Berlin, 1810; died there, 1882. The last of the great line-engravers. 
His saying, “when I die there will be no more,” has come true. 


MANDEL, JOHANN AUGUST EDWARD 


512. Maponna Dewra Sepia. Line-engraving. 
Apell, p. 258. No. 3 
After Raphael. Second state. Artist’s proof on India 
paper, with the engraver’s name only in traced letters. 
VERY FINE. 


Third Session, Tuesday Afternoon, April 13th 


MANDEL, JOHANN AUGUST EDWARD 


5138. Maponna PansHancer. Line-engraving. 
Apell, p. 258. No. 4. 
After Raphael. First state. Remarque proof on India 
paper signed by the engraver. HExTREMELY FINE AND RARE. 


MANDEL, JOHANN AUGUST EDWARD 


514. La Bevua pi Tiziano. Line-engraving. 
Apell, p. 259. No. 21. 
After Titian. First state. Remarque proof on India 
paper. VERY BEAUTIFUL IMPRESSION. 


ANDREA MANTEGNA 


Born at Vincenza, 1431; died at Mantua, 1506. In his work for the first 
time engraving became monumental, and it is probable that he had a great 
effect upon Diirer. Mantegna’s engravings remained the model for all sub- 
sequent artists in upper Italy until the time of Marcantonio Raimondi; that 
is to say, until the influence of the German school, and especially of Diirer’s 
technique, gave to the development of engraving in Italy a new direction. 


MANTEGNA, ANDREA 


515. THe Entompment. Painter-engraving. 


Bartsch, XIII. No. 3. 


From the Denfer-Dumesnil Collection. 


“Cette estampe, dont Vasari fait mention, est une des plus parfaites de 
VYceuvre d’André Mantegna, tant pour le dessein que pour les expressions 
et la gravure.”—BartscuH. 


MANTEGNA, ANDREA 


516. Curist Descenpine Into Limzpo. Painter-engraving. 
Bartsch, XIII. No. 5. 


A FINE IMPRESSION OF THIS RARE PRINT. 


MANTEGNA, ANDREA 


517. Tuer Risen Curist BETWEEN St. ANDREW AND St. LoneINus. 
Painter-engraving. 
Bartsch, XIII. No. 6. 
From the F. Bullard Collection. 


Third Session, Tuesday Afternoon, April 13th 


MANTEGNA, ANDREA 


518. THE Vircin anp Cuiup. Painter-engraving. 
Bartsch, XIII. No. 8. 
Second state. BrauTiruL IMPREsSION, with the halo. In 
brown ink. Owing to weak spots and tears, the print is 
mounted. ExcrEDINGLY RARE. 


MANTEGNA, ANDREA 


519. ‘THE Vircin 1n a Grorro. Painter-engraving. 
Bartsch. XIII. No. 9. 
OF THE GREATEST RARITY. 
From the W. Esdaile, R. S. Holford and F. Bullard Col- 


‘lections. 


MANTEGNA, ANDREA 


520. ‘TrRiumpH or Ca#sar: THE Senators. Painter-engraving. 
Bartsch, XIII. No. 11. 


Early impression printed in brown ink. 
MANTEGNA, ANDREA 


521. TriumpH or Casar: Soupiers Carryine Tropuies. Painter- 
engraving. 
Bartsch, XIII. No. 14. 
Early impression printed in brown ink. Impressions oF 
THIS PLATE, WITH THE COLUMN TO THE RIGHT STILL UPON 
THEM ARE EXCEEDINGLY RARE. 


“Dans deux exemplaires du Cabinet de Berlin, la colonne indiquée par 
Bartsch, 4 droite, manque.”—Passavanv. 


MANTEGNA, ANDREA 
522. Hercutes and AnTAEus. Painter-engraving. 
Bartsch, XIII. No. 16. 
From the F. Bullard Collection. 


MANTEGNA, ANDREA 
523. Barrie or Sra-Gops. Painter-engraving. 

Bartsch, XIII. No. 18. 
Left portion of the frieze. A fine impression on brownish 
paper printed in black ink, and showing the platemark. 
In a few places cleverly restored. 
From the Sir Joshua Reynolds and J. S. Morgan Collec- 
tions. 


Third Session, Tuesday Afternoon, April 13th 


MANTEGNA, ANDREA 


524. THe BaccHANAL WITH A VAT. Pantene aa 
Bartsch, XIII. No. 19. 
Early impression of great beauty. About 114 ins. of the 
upper part have been cut off, but very cleverly restored. 


From the Brentano-Birkenstock and J. S. Morgan Collec- 
tions. 


MANTEGNA, ANDREA 


525. BaccHANAL WITH SILENus. Painter-engraving. 
Bartsch, XIII. No. 20. 7 
A very early impression in greenish ink, which appears 
only on impressions of the earliest issue. HExcEEDINGLY 
RARE. 


GIUSEPPE FILIPPO LIBERATI MARCHI 
Born in Rome about 1735; died in London, 1808. 
MARCHI, GIUSEPPE FILIPPO LIBERATI 


526. Miss CHotmonpELEy. Mezzotint. 
C. Smith. 
After Sir Joshua Reynolds. First state. Proof with the 
artists’ names only in scratched letters. Large margin. 


R. S. MARCUARD 
1751—1792. Pupil of Bartolozzi, 
MARCUARD, R. S. 


527. Tue Fortune TEeizrer. Stipple.. 
After Sanders. Nicely printed in colors. Framed. 


PIERRE ANTOINE MARTINI 
1739—1800. 
MARTINI, PIERRE ANTOINE 


528. Les Aveux Srnckres, ov tes Accorps pE Mariacr. After 
Quéverdo. 
La TorLeTTE DE LA Marie. After Le Brun. Line-engrav- 
ings. 


Portalis and Beraldi, III, p. 82. No. 6. (2) 


Third Session, Tuesday Afternoon, April 13th 


MARTINO DA UDINE (Called Pellegrino de San Daniele) 


Flourished in Northern Italy (Ferrara?) about 1500—1510. In the special 
character of his technique (the completion of a skeleton lineal design by 

_ close graver flicks) Giulio Campagnola finds his closest imitator in this en- 
graver. 


MARTINO DA UDINE (Called Pellegrino de San Daniele) 


529. ‘THe EntromBment. Painter-engraving. 

Bartsch, XIII, p. 361. Passavant, V, p. 142. 

One of the rarest Italian prints of the Fifteenth Century. 
There is an earlier state before the dotted shading, but this 
one, described here, is much the finest state. Prof. Max 
Lehrs (the greatest Fifteenth Century expert in Europe) 
was very enthusiastic about this print. VEeRy FINE IMPRES- 
SION, IN PERFECT CONDITION. 


From the H. S. Theobald Collection. 


~JAMES MASON 


Born in London, 1710; died there, 1780. 


MASON, JAMES 


5380. Tue Lanpine or Atneas. Line-engraving. 1772. 
Andresen, II, p. 131. No. 1. ? 
After Claude Lorrain. Proof with the coat-of-arms and 
the inscription in scratched letters. Framed. 


From the W. H. Daugherty Collection. 


JEAN MASSARD 


Born at Belesme, 1740; died in Paris, 1822. 

“Massard’s fame rests chiefly on his engravings after Greuze, although he 
also engraved ‘Le Lever’ after Baudouin, a work of considerable charm, 
but by no means among the best of Baudouin’s productions.”—LawrENcez 


AND DicHron. 


MASSARD, JEAN 


531. Le Lever. Line-engraving. 
Portalis and Beraldi, III, p. 58. No. 1. 
After P. H: Baudouin. 


“Charmante composition, formant pendant avec ‘La Toilette’ gravée par 
Ponce.”—Portatis AND BERALDI. 


Third Session, Tuesday Afternoon, April 13th 


MASSARD, JEAN 


5382. Ertconr. Line-engraving. 
Apell, p. 271. No. 18. - 7 | 
After W. Mieris. First state. Artist’s proof with the 
coat-of-arms. SUPERB IMPRESSION AND IN PERFECT CON- 


TION. 


MASSARD, JEAN 
533. La CrucHe Cassre. Line-engraving. 
Portalis and Beraldi, III, p. 54, No. 3. Apell, p. 272, 


No. 21. : 4 
After J. B. Greuze. First state. Proof with the artists’ 


names in script only. VERY FINE AND VERY RARE. 


JEAN BAPTISTE RAPHAEL URBAIN MASSARD 


Born in Paris, 1775; died there, 1849. Pupil of his father, Jean-Baptisic 
Massard. 


MASSARD, JEAN BAPTISTE RAPHAEL URBAIN 


534. ApoLLo AND THE Muses. Line-engraving. 


Apell, p.-278. 2 Now s: 
After Giulio Romano. First state. Proof with the coat- 


of-arms and with the artists’ names, on India paper. 


VERY FINE. Framed. 


MASSARD, JEAN BAPTISTE RAPHAEL URBAIN 


535. Homer. Laine-engraving. 1816. 
: Apell, p. 273. No. 14. 
After F. Gérard. Third state. Open letter proof. Very 


FINE. Framed. 


MASSARD, JEAN BAPTISTE RAPHAEL URBAIN 


536. Mapame Le Brun anp Cuitp. Line-engraving. 
Not mentioned by Apell. 
After her own painting. Remarque proof on India paper, 
signed by the engraver. VERY FINE. 


Third Session, Tuesday Afternoon, April 13th 


ANTOINE MASSON 


Born at Louvry, near Orléans, 1636; died in Paris, 1700. One of the most — 
eminent portrait-engravers. 


MASSON, ANTOINE 


537. GUILLAUME DE Brisacrer (‘The grey-haired man”). Line- 
engraving. 
Robert Dumesnil, II. No. 15. 
After Nicholas Mignard. First state. Proof before the 
name and titles of the personage. ONE OF THE MASTER- 
PIECES OF THE ENGRAVER AND VERY RARE IN THIS STATE. 
Framed. — 
“Masson’s undoubted masterpiece, . . . from an artistic as well as a 
technical standpoint, is his beautiful portrait of the Queen’s Secretary, 
Brisacier, called the Grey-haired Man, a masterpiece of engraving and a 


worthy companion to Nanteuil’s ‘Pompone’ and Edelinck’s ‘Philippe de 
Champaigne. ”—W. O. Citapin. 


MASSON, ANTOINE 


538. Henri pe Lorratne, Comte p’Harcovurrt (also known as “Le 
Cadet a laperle”). Line-engraving. 
Robert Dumesnil, II. No. 34. 
Second state. A very early impression, the graver trials 
or slips in the left upper margin, forming the number “4” 
| are very strong. ONE OF THE ENRGAVER’S MOST POWER- 
, FUL PLATES. Framed. 


MASTER B. OF THE DIE 


“An artist of great individuality is the Master with the Die, who worked 
in Rome about the period 1522 to 1533. . . . whose name has been deter- 
mined by recent research to be Benedetto Verino. He is also a follower of 
Marcantonio in regard to technique, but adopts the style of the master’s 
early Roman period, showing a preference for compositions of the Raphael 
school.”—LiprpmMan. 


MASTER B. OF THE DIE 


539. Tue Sacririce ro Priapus. Engraving. 
Bartsch, XV. No. 27. 
First state. Fine impression before the retouch and 
Thomassin’s address. 


Third Session, Tuesday Afternoon, April 13th 


MASTER B. OF THE DIE 


540. Tur Tapestries oF THE Pope. Engravings. 
Bartsch, XV. Nos. 82-35. . 
After Raphael. Good old impressions, No. 35 Tene a 
very rare impression before the inscriptions and Lafrery’s 
address. 


MASTER B. OF THE DIE 


541. Tue Trivumex or Curip. Engraving. 


Bartsch, XV. No. 87. 


First state. Extremely fine impression before Tater “7 


address. VERY RARE. 


MASTER B. OF THE DIE 


542. Venus CommManpine PsycHe to Draw WatTER AT THE Foun- 
TAIN GUARDED BY Dracons. Engraving. 
Bartsch.) NO. ale 
From the set of 32 plates—“Fable of Psyche” after Ra- 
phael. Fine mrpresston in brownish ink. 


MASTER B. M. 


‘Flourished along the upper Rhine about 1485. Worked in the manner of 
Schoengauer. 


MASTER B. M. 


543. JUDGMENT oF SoLomon. Engraving. 
Nagler, Monogrammisten. No. 1957. 
OF THE GREATEST RARITY. Framed. 


From the Robert Dumesnil, Gonse, Mme. de Legnerio, 
and A. Artaria Collections. 


MASTER I. B. 
(One of the “Little Masters.) 
German master; flourished 1525-1530. Possibly Georg Pencz (Jérg Benz). 
MASTER I. B. 


544, CHILDREN GaTHERING Graprs. Engraving. 1529. 
Bartsch, VIII. No. 35. 
Probably after a design by Raphael. Very FINE. 


Third Session, Tuesday Afternoon, April 13th 


MASTER I. B. 


545. A Woman anv a Bacriper. Painter-engraving. 
Bartsch, VIII. No. 36. 


SUPERB IMPRESSION. 


MASTER I. B. WITH THE BIRD 
(Called by Zani,—Giovanni Battista del Porto) 
_Flourished about 1500. 
MASTER I. B. WITH THE BIRD 


546. Lepa anp Her Cuitpren. Painter-engraving. 
Bartsch, XIII. No. 38. 


VERY RARE. 
From the J. Reiss Collection. 


MASTER I. B. WITH THE BIRD 


547. Rome Sratrep oN Her Tropuies. Painter-engraving. 
Bartsch, XIII. No. —. Passavant, V, p. 150. No. 7. 
OF THE GREATEST RARITY AND MENTIONED BY WILLSHIRE 
AS ONE OF THE GREAT ACQUISITIONS OF THE BrirtisH 
Museum In 1875. 


MASTER L. CZ. 


Flourished about 1490 in Upper Germany. An engraver of much greater 
originality, who also to some extent shows the influence of Schoengauer, is the 
master known by his signature., L. CZ. There are elements in his work, 
é. g., the landscape and architecture, which point to the Netherlands, and 
it seems attractive to regard the ‘z’ of his monogram as the Dutch ending 
‘zoon, but on the whole, evidence inclines to locate him in Upper Germany. 


MASTER L. CZ. 


548. Tue Fricut Iyto Eeyrr. Painter-engraving. 
Passavant, II. No. 289. 
EXCESSIVELY RARE. ‘THE ONLY OTHER IMPRESSIONS KNOWN 
ARE IN THE VIENNA AND BERLIN MusEUMS AND ONE WHICH 
WAS IN THE Baron Von Lanna COLLECTION AT PRAGUE. 


From the Henry Huth Collection. 


Third Session, Tuesday Afternoon, April 13th 


MASTER L. CZ. 


549. Curist Enrertne Jerusatem. Painter-engraving. 
VERY FINE AND EXCESSIVELY RARE. 


From the W. B. Scott and H. S. Theobald Gatlbcu beat 


This is a primitive engraving of the very first importance from every point 
of view, beauty of the design and the impression, perfect condition and ex- 
treme rarity. 


THE MASTER OF THE CRAB OR CRAYFISH 


Flourished in the Netherlands about the Sixteenth century. Closely de- — 
pendent on the style of Quentin Matsys, and influenced in some degree by 
Lucas Van Leyden (note the long forms in the “Execution of the Baptist”) 
stands the engraver who uses a Crayfish as his signature. He has been ~ 
identified with a certain Frans Crabbe (or Crabeth) of Mechlin, but the — 
hypothesis is a mere conjecture. He varies the lineal system of his prede- 
cessors by a very liberal use of dotted work( ¢. g., Death of Lucretia) and — 
also combines with his engravings a delicately etched line. g 


THE MASTER OF THE CRAB OR CRAYFISH 


550. Tue Deratu or Lucretia. Painter-engraving. 
Bartsch, VII. No. 23. 
EXTREMELY RARE. Duplicate from the British Museum. 


MASTER OF THE RAT-TRAP 
(Also called, Nadat) 


“Such is the name usually given to the author of two prints which bear 
as a sort of signature a rat-trap .and two syllables, Na Dat. 

It seems probable that these syllables and the rat-trap formed some 
sort of cryptogram to which the clue has not yet been discovered. 

We are also in ignorance as to the signification of the letters T. N. engraved 
on a stone in the print called The Two Armies.”—Bartscu. 


MASTER OF THE RAT-TRAP 


551. Tur Two Armres 

Bartsch, XIII. No. 2. 

First state. Fine uvpresston. Before Salamanca’s ad- 

dress. 

From the Angiolini Collection. 
“This battle has been called that of Charles the Bold, but it is more prob- 
ably that of Fornove on the Sporzano in the Duchy of Parma gained by 
Charles VIII in 1495 against the confederated forces composed of the 
troops of the Papal domains, those of Naples, Spain and Urbino.”—Cum- 
BERLAND. 


Third Session, Tuesday Afternoon, April 13th 


MASTER OF THE TAROCCHI CARDS 
MASTER OF THE TAROCCHI CARDS 


552. A Ser or Firry Eneravines Known as “THe Taroccui 
Carbs.” 
Bartsch, Vol. XIII. Nos. 18-67. 


AN EXCEEDINGLY FINE AND ALMOST EVEN SET, PERHAPS THE 
ONLY ONE OF SUCH QUALITY IN A PRIVATE COLLECTION. 
Usually only single prints appear in the market. 

From the Durazzo, Theodore Irwin and J. S. Morgan Col- 


lections. 


The authorities have established beyond doubt that these fifty most interest- 
ing early prints have nothing to do with playing cards, although they were 
previously generally considered to be such. This was due to the fact that 
some of the motives found here were repeatedly used for characters of 
early Italian cards. They seem to be an emblematical work, analyzing in 
symbolical representations the Cosmos in general; illustrating its social 
aesthetic, scientific, moral, astrological and transcendental elements. 

The set consists of) five different series, each one marked by a letter of the 
alphabet. The first of these series illustrates the different stations in life 
of man, from beggar to Pope. The second group shows Apollo and the 
Muses; the third, the liberal arts and sciences; the fourth, the three Genii of 
Light (Sun), Time and Universe (World-Cosmico), and the seven virtues. 
The last group illustrates the seven planets, the angels of the eighth and 
ninth Spheres and the Empyrean Sphere (Prima Causa). 

With four exceptions the quality of print and paper of the prints shown here 
is the same, therefore special mention is made only when a difference oc- 
curs. The paper is yellowish, thin, but strong, and shows in many instances 
the watermark of a pair of scissors. Most impressions have wide margin, 
the ink is grey, slightly greenish. The impressions are before any re- 
touches, but in most cases from plates used so much that the fine shading 
only appears weakly. The set is from the Durazzo Collection, in the orig- 
inal case. It is described in the catalogue of the Durazzo Sale, Stuttgart, 
1872: “CoMPLETE, IN RICHLY DECORATED LEATHER CASE, SUBERB IMPRESSIONS 


WITH MARGIN, OF THE MOST BEAUTIFUL PRESERVATION, EXTREMELY RARE.” 


FIRST GROUP E (S) 1-10. 


Tue Brccar (Misero I) 

Early, but somewhat worn impression, in grey ink, on thin paper, damaged 
in lower part so that the letter E is hardly visible, the number “1” not at ali. 
Margin restored to the size of that of the rest of the set. 

Tue Servant (Fameio II) S. 2 

Beautiful impression of the only print of the S series, shown here. The 
four nail-holes to fasten the plate, which appear on the borders of all the 
prints of the E set, do not appear here. The composition is in the reverse 
of the same in the other set and differs from that in various points, but 
exceeds it in beauty and dignity. The treatment shows, however, the coarser 
work, the fine hatchings go in places beyond the outline of the design. 


Third Session, Tuesday Afternoon, April 13t 


[ No. 552—Continued | 
Tue Artisan (Artixan III) E. 3. 
Tue Mercuant (Merchadante IIII) E. 4. 
Tue GentTLEMAN (Zintilomo V) E. 5. 
Tue Kwieutr (Chavalier VI) E. 6. 
Tue Doce (Doxe VII)E. 7 
The fact that this rank is represented here, probably instead of: “The Duke,” 
shows that the engravings are from the hand of a Venetian artist. 
Tue Kine (Re VIII) E. 8 
Tue Emperor (Imperator VIIII) E. 9 
Tue Pore (Papa X) E. 10 


SECOND GROUP: APOLLO AND THE MUSES. 


Catuiore (Caliope XI) D. 11 

Urania (Urania XII) D. 12 
TerpsicHore (Terpsicore XIII) D. 138 
Erato (Erato XIIIT) D 14 
PotyHymnia (Polimnia XV) D. 15 
Tuatia (Talia XVI) D. 16 
Metromene (Melpomene XVII) D. 17 
Evrerre (Evterpe XVIII) D. 18 

Curio (Clio XVIIII) D. 19 

Apotto (Apollo XX) D. 20 


THIRD GROUP: ARTS AND SCIENCES. 


Grammar (Grammatica XXI) C. 21 
Locic (Loica XXII) C. 22 

Ruetoric (Rhetorica XXIII) C. 28 
Geometry (Geometria XXIV) C. 24 
The C. in the title is engraved as a correction over the lower part of an E. 
ArirHmetic (Arithmeticha XXV) C. 25 
Music (Musicha XXVI) C. 26 

Poetry (Poesia XXVII) C. 27 
PuitosopHy (Philosofia XXVIII) C. 28 
Astronomy (Astrologia XX VIIITI) C. 29 
Tueotocy (Theologia XXX) C. 380 


FOURTH GROUP: GENII AND VIRTUES. 


GENIUS oF THE Sun (Iliaco XXXI) B. 31 
Genius oF Time (Chronico XXXII) B. 32. 
GENIUS OF THE Woritp (Cosmico X XXIII) B. 33 
TEMPERANCE (Temperancia XXXIIII) B. 34 
Prupence (Prvdencia XXXV) B. 35 
Fortiruve (Forteza XXXVI) B. 36 

Stronger impression, with more tone than the majority, the margin is more 
narrow, too, than that of the rest. 

Justice (Jvsticia XXXVII) B. 87 

Cuarity (XXXVIII) B. 38 

Horr (Speranza XXXVIIII) B. 39 

Fairm (Fede XXXX) B. 40 


Third Session, Tuesday Afternoon, April 13th 


[No. 552—Continued | 


FIFTH GROUP: PLANETS AND SPHERES. 


Moon (Luna XXXXI) A. 41 

Impression of the same tone, quality and margin as B. 36. 

Mercury (Mercvrio XX XXII) A. 42 

Venus (Venus XXXXITI) A. 43 

Sun (Sol XXXXIIII) A. 44 

Mars (Marte XXXXV) A. 45 

Jupiter (Jvpiter XXXXVI) A. 46 

Saturn (Satvrno XXXXVII) A. 47 

' Tue Ancet or THE EiguTrH SpHerEor SpHere or THE Frxep Srars (Octava 
Spera XXXXVIII) A. 48 

Tue ANGEL or THE Nintu Supere (Primo Mobile XXX XVIIIT) 

Tue Empyrean SPHERE or First Cause (Prima Cavsa XXXXX) A. 50 


The Universe represented in a mathematical figure. In the centre are the 
four elements in concentric circles. Round these are the nine spheres of 
the planets, the fixed stars, and the Primum Mobile, while the whole is 
enclosed in the three-fold Sphere of the Empyrean, which is itself enringed 
with rays. Strong impression, apparently earlier than the rest; no margin. 
—R. EperHeImer. 


JEAN MATHIEU 


Born in Paris, 1749; died in Fontainebleau, 1815. Pupil of de Longeuil. 


MATHIEU, JEAN 


553. Le Serment p’Amovr. Line-engraving. 


Portalis and Beraldi, III, p. 69. 

After J. H. Fragonard. FrIne impression IN PERFECT CON- 
DITION. 

Companion to No. 554. 


MATHIEU, JEAN 
554. La Bonne Mere. Line-engraving. 


Portalis and Beraldi, III, p. 69. 
After J. H. Fragonard. Supers rmpression before the 
inscription in the lower margin was entirely changed. 
Companion-to No. 553. 
“In addition to his fine work on the Moliére and the Rousseau should be 
named his admirable interpretations of Fragonard’s ‘La bonne Mére,’ etc.”— 
Lavy Dike. 


Third Session, Tuesday Afternoon, April 13th 


CORNELIS MATSYS (MET) 


Born in Antwerp about 1510; died, 1560. Fourth son of Quentin Matsys. 
“In the Dresden Gallery there is a red chalk drawing by him of ‘Lot and His. 
Daughters.’ The figures have much elegance and refinement, betraying a 
master who had visited Italy without leaving his own Flemish manner behind 
him there.”—Bryan. 
MATSYS (MET), CORNELIS 
555. St. Luxe Paintine THE Vircin. Painter-engraving. 


Undescribed by Bartsch. 


From the Baron Von Lanna Collection. 


MATSYS (MET), CORNELIS 


556. Tue Barrie. Painter-engraving. 
Undescribed by Bartsch. Possibly Passavant, III. No. 77. 
From the Josef Camesina de Ponal Collection and also 
from another not mentioned by Fagan. 


MATSYS (MET), CORNELIS 


557. Tue Huncu-spack Dancers. Painter-engravings. 
Bartsch, [X. Nos. 8, 10 and 14. (3) 


JAMES McARDELL 


Born in Dublin, 1729; died in London, 1765. Pupil of John Brooks, with 
whom he came to London about 1747. 


McARDELL, JAMES 


558. Mary, Ducness or AncastTER. Mezzotint. 

| Ce Smithsshl@ Now: 
After Thomas Hudson. First state. Proof before the 
inscription and before the margin was cleaned. VERY 
FINE. Framed. 


McARDELL, JAMES 


559. Maria, Countess oF Coventry. Mezzotint. 
C. Smith, II. No. 48. | 
After G. Hamilton. First state. Fine proof before the 
plate was cut down. ONLY FIVE IMPRESSIONS KNOWN IN 
THIS STATE. Framed. 


Eldest daughter of John Cunning, County Roscommon. Married, 1752, the 
sixth Eearl of Coventry. 


Third Session, Tuesday Afternoon, A pril 13th 


McARDELL, JAMES 


560. Lapy Frennouter (Anne Day). Mezzotint. 
C. Smith, II. No. 53. 
After Sir Joshua Reynolds. First state. Proof before all 
letters with margin. VERY FINE. 


McARDELL, JAMES 


561. RacueL, Countress oF SoutHampron. Mezzotint. 
Smith, II. No. 168. 
After Van Dyck. Second state. SupERB IMPRESSION, BE- 
FORE THE INSCRIPTION WAS ERASED AND RE-ENGRAVED. 
Framed. 


From the W. S. Carter Collection. 


Daughter of Daniel de Massey, Baron de Rounigny, and not improbably in 
the suite of Henrietta Maria; married Thomas Wriothesley, fourth Earl 
of Southampton, who was an adherent of Charles I, and was made Lord 
Treasurer at the Restoration. Granger states that she is said to have been 
mad; but she certainly must have been very handsome. 


McARDELL, JAMES 
562. Mrs. Worrinctron. Mezzotint. 


Distinguished actress and charming woman. Born in Dublin, 1719; died, 
1760. 


C. Smith, II. No. 188. 
After A. Pond. Only one state known. Supers IMPRES- 
ston. Framed. 


From the Royal Collection at Windsor Castle. 


McARDELL, JAMES 


563. Tosir AnD THE ANGEL. Mezzotint. 
Andresen, I, p. 34. No. 2. 
After Rembrandt. First state. Proof before all letters. 
The blank space at the bottom not yet perfectly cleaned. 
SUPERB IMPRESSION, OF THE FINEST QuALITy. Framed. 


From the W. S. Carter Collection. 


Third Session, Tuesday Afternoon, April 13th 


McARDELL, JAMES 
564. Time Crippinc tHE Wines or Love. Mezzotint. 


Andresen, I, p. 34. No. 6. 


After Van Dyck. First state. Proof before all letters. 
Framed. 


From the W. S. Carter Collection. 


ROBERT MITCHELL MEADOWS 


Flourished in England, about 1780-1810. 
MEADOWS, ROBERT MITCHELL 


565. ATTENTION—INATTENTION. Stipples. 


Both after John Raphael Smith. Two attractive engrav- 
ings, nicely printed in colors. Framed. (2) 


CLAUDE MELLAN 


Born at Abbeville, 1598; died in Paris, 1688. 
MELLAN, CLAUDE 
566. THe Suparium oF St. VERONICA. 
Montaiglon. No. 25. | 
Early impression, before the break in the plate. 


Line-engraving. 


MELLAN, CLAUDE. 
567. Sr. Peter Noxtasaue. Line-engraving. 1627. 
Montaiglon. No. 90. 


EXTREMELY FINE, EARLY IMPRESSION, POSSIBLY UNIQUE IN 


THIS STATE. Not in the print room of the British 
Museum. 


PAOLO MERCURJ 


Born in Rome, 1804; died in Bucharest, 1884. 
MERCURJ, PAOLO 


568. Sarnr AMELIA, QUEEN or Huneary. Line-engraving. 


Apell, p. 277. No. 1. 


After Paul Delaroche. First state. Proof before all let- 
ters on India paper. Framed. 


From the W. S. Carter Collection. | : 


Third Session, Tuesday Afternoon, April 13th 


CHARLES MERYON 


Born in Paris, 1821; died there, 1868. “Méryon was one of the greatest and 
most original artists who have ever appeared in Europe; he is one of the im- 
mortals; his name will be inscribed on the noble roll where Diirer and Rem- 
brandt live forever.”—P. G. Hamerrton. 


MERYON, CHARLES 


569. Le Srrycr. Painter-etching. 
Wedmore. No. 7. 
First state of (four). Very FINE PROOF BEFORE THE 
VERSES WERE BURNISHED OUT; on greenish paper. Framed. 


MERYON, CHARLES 


570. Le Petir Pont. Painter-etching. 
Wedmore. No. 8. 


Second state. ExcrEEDINGLY FINE PROOF ON GREENISH 
PAPER. Framed. 


MERYON, CHARLES 


571. L’arcue pu Ponr Notre Dame. Painter-etching. 
Wedmore. No. 9. 
First state. VERY FINE PROOF ON GREENISH PAPER. 
Framed. . 


MERYON, CHARLES 


572. La GaLerre pe Notre Dame. - Painter-etching. 
Wedmore. No. 10. 
First state. VERY FINE PROOF ON GREENISH PAPER. 
Framed. 


MERYON, CHARLES 


573. Ruz pes Mavvais Garcons. Painter-etching. 
Wedmore. No. 11. 
Second state. Fine mrpression. Framed. 


From the Tracy Dows Collection. 


MERYON, CHARLES 


574. La Tour pE L’Hor oce. Painter-etching. 


Wedmore. No. 12. 
First state (of four). VERY FINE PROOF ON GREENISH 


PAPER. Framed. 


Third Session, Tuesday Afternoon, April 13th 


MERYON, CHARLES 


575. Tourette, Rue pE LA TIXERANDERIE. 


Painter-etching. 
Wedmore. No. 13. } 
VERY FINE PROOF ON GREENISH PAPER. Framed. 
MERYON, CHARLES 
576. St. Evrtenne-pu-Mont. Painter-etching. 
Wedmore. No. 14. 
VERY FINE PROOF ON GREENISH PAPER. Framed. 


MERYON, CHARLES 


577. La Pomrst pvE Notre Dames. 


Painter-etching. 
Wedmore. No. 15. 


VERY FINE PROOF ON GREENISH PAPER. Framed. 


MERYON, CHARLES 


578. Le Pont Nevur. Painter-etching. 
Wedmore. No. 17. 


VERY FINE PROOF, ON DutcH PAPER. Framed. 


MERYON, CHARLES 


579. Le Pont av CHANGE. 


Painter-etching. 
Wedmore. No. 18. 


First state (of four). VERY FINE PROOF ON GREENISH 
PAPER. Framed. 


MERYON, CHARLES 


580. La Morever. Painter-etching. . 


Wedmore. No. 20. 


Second state. VERY FINE PROOF. 


From the J. F. Gigoux Collection. 


MERYON, CHARLES 


581. L’Agstipe pE Norre Dame pE Paris. Painter-etching. 
Wedmore. No. 22. 


Second state. Very Fine proor, with “C. Méryon del. 
sculp. 


mpcccLiv” in the left corner, and “Imp. Rue 


Third Session, Tuesday Afternoon, April 13th 


[No. 581—Continued | 


Neuve St. Etienne-du-Mont, 26” in the right. Before the 
houses in the distance to the right were worked upon and 
made more definite. Framed. 


“THe ‘ARSIDE’ IS ACCOUNTED THE MASTERPIECE OF Méryon, in right of its 
solemn and austere beauty. A rich and delicate impression of this print is, 
then, the crown of any Méryon collection. It must be obtained in a state 
before the dainty detail of the apse of the cathedral, and the yet daintier 
and more magically delicate workmanship of its roof, in soft and radiant 
light, have suffered deterioration through wear.”—Frepertck WeEDMORE. 


MERYON, CHARLES 


582. Rue pes Cuantres. Painter-etching. 
Wedmore. No. 25. 
First state; proof on thin Japanese paper. ExTREMELY 
RARE. 
From the Tracy Dows Collection. 


“At the street’s end, a white house and a spire which Monsieur Viollet le 
Duc added to Notre-Dame.”’—WepMmorE. 


MERYON, CHARLES 


588. Entree pu Couvrent pes Capucins Francois A ATHENES. 
Painter-etching. 
Wedmore. No. 82. 
SUPERB PROOF ON LAID PAPER, the state before its pub- 
lication in Count Léon de Laborde’s ‘‘Athénes au XVme, 
XVIme, et XVIIme Siecles’”—a book that is itself now 
scarce. 


From the Tracy Dows Collection. 


MERYON, CHARLES 


584. La Rue ves Tories, A Bources. Painter-etching. 
Wedmore. No. 35. 
Trial proof, before the first finished state, with the date 
on the chimney. SuprErB IMPRESSION on dark Japanese 
paper. 
From the Tracy Dows Collection. 


“Mr. Macgeorge and I have practically finished trial proofs, with the date 
in the chimney ‘1853.’”—Wepmorr. This plate has been coarsely copied. 


Third Session, Tuesday Afternoon, April 13th 


MERYON, CHARLES 
585. Porrrarr or CHartes Méryon (by Felix Bracquemond). 
Painter-etching. 
Velteil. No. 1%a. : 
Second state; proof on Japanese paper. 
from the Philip Burty Collection. 


MERYON, CHARLES 


586. Porrrair or Cuartes Méryon. Etching. (From Life by — 
Felix Bracquemond. ) 3 s 
Beraldi. No. 77. 
The very rare original. Only ten impressions are known 
to be in existence. There is a very deceiving counterfeit 
of this plate. 
From the Blanchard Randall Collection. 


HENRY MEYER 
Born in London, 1782(?); died there, 1847. 


MEYER, HENRY 
587. Psycur (Mrs. Paget). Stipple. 
After John Hoppner. BEauTIFULLY PRINTED IN COLORS. 
Framed. 


MEYER, HENRY 
588. Lapy Hamitron as Nature. Stipple. 
After George Romney. Bravutirut proor in dark brown, 
with one line of inscription. Framed. 


MEYER, HENRY 


_ 589. Emma, Lapy Kenyon. Mezzotint. 
After John Hoppner. Proof before all letters. This 
is a private plate, and nearly all the impressions are in 
the possession of Lord Kenyon; they can be obtained only 
if a member of the family parts with his, or her, impres- 
sion. Only a very few impressions before all letters were 


taken. 


Third Session, Tuesday Afternoon, April 13th 


SIMON CHARLES MIGER 


Born in Paris, 1736; died there, 1820. 
MIGER, SIMON CHARLES 


590. Hercutes anp OmpuHate. Line-engraving. 1783. 
Portalis and Beraldi, III, p. 100. No. 2. 
After Dumont le Romain. VrEry FINE EARLY IMPRESSION, 
IN PERFECT CONDITION. 


JEAN FRANCOIS MILLET 


Born, 1814; died at Barbizon, 1875. 
MILLET, JEAN FRANCOIS 


591. THE Sower.- Lithograph. 
Delteil. No. 22. 
VeRY FINE IMPRESSION. The stone is ground down. This 
lithograph, executed in 1851, was done for “L’Artiste,” 
but that Journal never published it. Framed. 


GIROLAMO MOCETTO 


Born in Verona about 1458; died in Venice about 1531. Quite Venetian 
in character and much influenced by Giovanni Bellini. His technique was 
modelled on Mantegna’s. 


MOCETTO, GIROLAMO 


592. JupIrH wirH THE Heap or HOLOFERNES 
Bartsch, XIII. No. 1. 
Duplicate from the British Museum. 
“The ‘Judith’ in particular is executed with a firmness of hand almost archi- 
tectural; and it is only just to recognize in it the chef-d’ceuvre of the en- 
graver and one of the noblest productions of the art of engraving in the 
Fifteenth century.”—DEeELaporpe. 


MOCETTO, GIROLAMO 
5938. Tue Catumny or APELLES. Engraving. 
Bartsch, XIII. 113. 10. (Anon.) Hind. 464. 9. 
After a drawing by Mantegna, preserved in the British 
Museum. First state (of four) described by Hind. Mac- 


NIFICENT IMPRESSION BEFORE THE SCRATCHES ON THE 


Third Session, Tuesday Afternoon, April 13th 


[ No. 598—Continued | 


PLATE. In perfect condition aside from a few repairs 
of tears and crease running through the centre of the 
print. 


From the R. S. Holford and J. S. Morgan Collections. 


BENEDETTO MONTAGNA 


Worked in Vicenza between the years 1500 and 1540. 
MONTAGNA, BENEDETTO 


594. Maw wirH an Arrow. Painter-engraving. 
Bartsch, XIII. No. 33. 
Second state. BriLLIANr IMPRESSION, with a hill added 
on the background low down to the left. VeEry Rare. 
From the Sir Joshua Reynolds, John Tetlow and J. S. 
Morgan Collections. 


RAPHAEL MORGHEN 


Born in Florence, 1758; died there, 1833. “Probably no engraver has 
had so large a following as Raphael Morghen. This is partly due to his soft 
and captivating style and partly to his excellent judgment in the choice of 
subjects. Morghen has preserved to the world the almost extinct glories 
of Leonardo da Vinci’s Last Supper in a plate which alone would have 
made the reputation of any engraver.”—FrepErick KEPPEL. 


MORGHEN, RAPHAEL 


595. Tue Hoty Famity Reposine. Line-engraving. 
Apell, p. 289. No. 8. 
After N. Poussin. (Palazzo Rospigliosi.) Second state. 
SUPERB PROOF WITH THE COAT-OF-ARMS, AND ONE LINE OF 
THE INSCRIPTION IN scRIPT. Framed. 


From the W. H. Daugherty Collection. 


MORGHEN, RAPHAEL 
596. “Parce Somnum Rumpere.” Line-engraving. 
Apell, p. 289. No. 5. 
After Titian. First state. BritLIANT PROOF BEFORE ALL 
LETTERS. EXTREMELY RARE. 


“The engraving on the fleshes, in this and the next state, present a brilliant es 
example of the engraver’s art.”—Hatsey. 


Third Session, Tuesday Afternoon, April 13th 


MORGHEN, RAPHAEL 


597. Tue TransFicuraTion. Line-engraving. 
Apell, p. 291. No. 20. 
After Raphael. Second state. Open letter proof. Verry 
FINE AND RARE. Framed. 


> 


MORGHEN, RAPHAEL 


598. Tue Last Supper. Line-engraving. 

Apell, p. 291. No. 21. 

After Leonardo da Vinci. First state (of six). Re- 
marque proof. One plate on the table is still without shad- 
ing. In the lower margin the coat-of-arms, but no inscrip- 
tions whatsoever. ExrrEMELY FINE AND EXCESSIVELY 
RARE. ‘There are eleven impressions only of this state. A 
superb proof, but unfortunately it has a slight tear in the 
lower right hand margin; this, however, does not extend 
into the engraved surface. Framed. 


“As to Morghen’s plate, its consummate skill, technical judgment, delicate 
treatment and artistic merit combine to make it his masterpiece—with, pos- 
sibly, the exception of his’second plate of the Transfiguration—and it is very 
doubtful if any other engraver has ever produced its equal.”—Hatsey. 


MORGHEN, RAPHAEL 


599. Avrora, wirH APoLLo AND THE Hours. Line-engraving. 
Apell, p. 298. No. 32. 
After Guido Reni. Second state. Proof before the in- 
scription except the artists’ names and “Rome” in shaded 
and engraved script. Very FINE. Framed. 


MORGHEN, RAPHAEL 


600. THe Huntine Feast or Diana. Line-engraving. 
Apell, p. 293. No. 33. 
After Domenichino. First state. Proof before all letters. 
EXTREMELY FINE. Framed. 


MORGHEN, RAPHAEL 


601. Tue Turret Aces. Line-engraving. 
Apell. p. 294. No. 46. 
After F. Gérard. First state. Artist’s proof. Framed. 


Third Session, Tuesday Afternoon, Apri 13th 


MORGHEN, RAPHAEL 


602. Porrrair or Leonarpo pa Vinci. Line-engraving. 
Apell, p. 301. No. 142. | 
After his own painting. Third state. SuPERB OPEN LET- — 
TER PROOF. | ie 


JEAN MORIN 


Born in Paris about 1590; died there, 1650. Morin started his career as 4 
painter, but afterward took to engraving. He studied at first under Phi- 
lippe de Champaigne, after whom many of his plates were engraved. His 
plates are done in a mixed style, partly etching and partly burin work, | 4 
using the dotted manner for the flesh. 3 


MORIN, JEAN 


603. Porrrair or ANNE oF Austria. Engraving. 
Robert Dumesnil, II. No. 40. 
Only one state mentioned. FINE IMPRESSION WITH MARGIN 
on paper with the watermark of the two interlaced As and 
a crown. 


“His queen, Anne of Austria, is here shown in the quiet garb of a widow, 
a delightfully simple portrait.’-—L. R. Mercatre. 


MORIN, JEAN 


604. Porrrarr or Carpinat Guipo Bentivociio. Engraving. 
Robert Dumesnil, II. No. 43. 
After A. Van Dyck. 
Second state. VERY FINE IMPRESSION WITH THE INSCRIP- 
tions. No margin. ‘THE ENGRAVER’S MASTERPIECE. 


MORIN, JEAN 


605. Nicotas Curystrxn. Engraving. 
Robert Dumesnil, II. No. 51. 
After A. Van Dyck. 
Only one state mentioned. VERY FINE IMPRESSION, WITH- 
OUT MARGIN, on paper with the watermark of the two inter- 
laced Cs. 
Duplicate from the Bibliotheque Nationale in Paris. 
“To the four portraits after Van Dyck we must give special attention, 
for they contain Morin’s masterpieces,—the portrait of N. Chrystin, son of 
the Spanish Plenipotentiary at the Peace of Vervins, and that of Cardinal 
Bentivoglio, the Papal Nuncio to the court of Louis XIII. Here we have 


Morin in his grand manner, transferring all the color of the original canvas 
to his copperplate and interpreting his models with a boldness, a softness, 


Third Session, Tuesday Afternoon, April 13th 


[ No. 605—Continued | 


a clearness of purpose and a strength of sympathy wholly admirable. In 
awarding the palm, we hesitate between the deep tones, the velvety finish 
in the head of the sombre Spaniard and the subtle modelling of the beauti- 
fully illumined, sensitive Italian face. Either of these portraits alone 
would have established Morin’s fame.”—L. R. Mercatre. 


MORIN, JEAN 


606. Portrair or Henri pE Lorraine, Duc de Guise. Commander 
in Chief of the armies of Louis XIV. Engraving. 
Robert Dumesnil, II. No. 57. 
After I. Citermans. Only one state mentioned. VrEry FINE 
IMPRESSION, without margin; on paper with the watermark 
“coat-of-arms of Lorraine.” 


MORIN, JEAN 


607. Henry I], Kine or France. Engraving. 
Robert Dumesnil, II. No. 59. 
Laid down and without margin. ONr oF THE ENGRAVER’S 
RAREST AND-MOST INTERESTING PORTRAITS. 


MORIN, JEAN 


608. Porrrair or Louris XIII. Engraving. 

Robert Dumesnil, II. No. 64. 

After Philippe de Champaigne. Only one state mentioned. 
VERY FINE IMpREssIon. ‘This is especially interesting as 
being the only portrait which Morin made of the King. 
It is significant of the more modest character of Louis 
XIII, especially when we think of the innumerable por- 
traits which Louis XIV had made of himself. 


MORIN, JEAN 


609. Porrrair or Prerre Maueis pes Grances. (His brother 
formed the first print collection in France.) Engraving. 
Robert Dumesnil, Il. No. 67. 
After Philippe de Champaigne. Only one state mentioned. 
VERY FINE IMPREssION without margin, on paper with the 
watermark ‘‘coat-of-arms of Lorraine.” 
Duplicate from the Royal Collection of Saxony in Dresden. 
“In other portraits like that of Maugis, the maitre-d’hotel of the king, 
the artist seems to have reveled in the deepest tones of his inky palette, 


and he renders the olive skin and the raven hair of this strong-featured 
individual with a most striking intensity.”,—-L. R. Mercatre. 


Third Session, Tuesday Afternoon, April 13th 


MORIN, JEAN 


610. Porrrair or Carpinat Mazarin. Engraving. 


MORIN, JEAN 


Robert Dumesnil, II. No. 68. 
After Philippe de Champaigne. 


Second state, before the inscription around the frame was 
erased. Five rvpression without margin, on paper with 


the watermark “‘coat-of-arms of Lorraine.’’ 


611. Porrrarr or Jacaves Le Mercier (well-known architect of a 


MORIN, JEAN 


this period). Engraving. 
Robert Dumesnil, II. No. 69. 
After Philippe de Champaigne. Only one state mentioned. 
FINE IMPRESSION, with very small margin, on paper with 
the watermark ‘coat-of-arms of Lorraine.” 


612. Porrrarr or Omer Taton. Engraving. 


“AS 


Robert Dumesnil, II. No. 74. 

After Philippe de Champaigne. Third state, the left sleeve 
is very dark. VERY FINE IMPRESSION WITH LARGE MAR- 
GIN. 


a pendant we have the brilliantly executed head of Omer Talon, 


avocat-général du Parlement, the greatest pillar of French jurisprudence 
and a great man in his day; it is a plate which Rembrandt would have 
deigned to look at more than once.”—L. R. Mrrcatre. 


MORIN, JEAN 


613. Porrrair or AucustiIn DE THovu (President of the Parliament 


of Paris). Engraving. 
Robert Dumesnil, II. No. 77. 
Only one state mentioned. VERY FINE IMPRESSION with 
small margin, unnecessarily laid down. ‘This is a very 
early plate by Morin. It has great decorative quality 
on account of the rich blacks of the costume and the 
background. 


From the Duke of Aremberg Collection. 


Third Session, Tuesday Afternoon, April 13th 


| MORIN, JEAN 


614. Porrrair or AmMapor JEAN BaprisTE DE VIGNEROD, ABBE DE 
1% RicHELIEU (nephew of the great Cardinal). Engray- 
ing. 
Robert Dumesnil, II. No. 85. 
After Philippe de Champaigne. Second state, with the in- 
scriptions. VERY FINE IMPRESSION WITH LARGE MAR- 
GINs on paper with the two interlaced Cs. 
“Quite a different portrait is that of his nephew, Vignerod, shown here 
in three-quarter figure as the Abbé de Richelieu, a most attractive plate, 


‘and one of the only two portraits of Morin’s in which the model is shown 
otherwise than in the usual bust form.”—L. R. Mercatre. 


MORIN, JEAN 


615. Porrrair or Marie pe Mepicis (Queen of France and Na- 
varre, wife of Henri IV). Engraving. 1574-1642. 
Robert Dumesnil, II. Piéces douteuses. No. 4. 
After Pourbus. Only one state mentioned. VERY FINE 
IMPRESSION, WITH UNUSUALLY LARGE MARGINS. On paper 
with the two small interlaced Cs. 


From the Sagert' and A. Morrison Collections. 


GEORGE MORLAND 


MORLAND, GEORGE 


616. A Tra GarpEen. Stipple. 
Engraved by F. D. Soiron. Early impression with the 
border. Very nicely printed in colors. Framed. 
Companion to No. 617. 


MORLAND, GEORGE 
617. St James Parx. Stipple. 
Engraved by F. D. Soiron. Early impression with the 
border. Very nicely printed in colors. Framed. 
Companion to No. 616. 


MORLAND, GEORGE 


618. Tue Seaurre’s Door. Stipple. 
Engraved by B. Dutterau. VERY FINE IMPRESSION, nicely 
printed in colors. With large margin. Framed. 


Third Session, Tuesday Afternoon, April 13th 


MORLAND, GEORGE 


619. THe Farmer’s Door. Stipple. 
Engraved by B. Dutterau. VEry FINE IMPRESSION, nicely 
printed in colors. With margin. Framed. © 


MORLAND, GEORGE 
620. CuILtpREN Puayine Souprers. Mezzotint. 
Engraved by George Keating. VERY FINE OPEN LETTER 
PROOF WITH LARGE MARGIN. Framed. 
Companion to No. 621. 


MORLAND, GEORGE 


621. Bruinp Man’s Burr. Mezzotint. 
Engraved by Wm. Ward. Very fine open letter proof with 
large margin. Framed. 
Companion to No. 620. 


JEAN MOYREAU 


Born at Orléans, 1690; died, 1762. “He studied painting under Boullogne, 
but soon devoted his time to engraving. He came to Paris, and in 1738 was 
admitted into the Académie Royale, with the uncommon distinction that he 
was not required to engrave a portrait according to the rules.’—Bryan. 


MOYREAU, JEAN 


622. La Cottation. Etching and engraving. 
Portalis and Beraldi, III, p. 210. 
After A. Watteau. 


MOYREAU, JEAN 


623. La Partie Quarrére. Etching and engraving. 
Portalis and Beraldi, III, p. 210. 
After A. Watteau. 


JOHANN FRIEDRICH WILHELM MULLER 


Born in Stuttgart, 1782; died at Sonnenstein, 1816. 
MULLER, JOHANN FRIEDRICH WILHELM 


624. THe Sistine Maponna. Line-engraving. 
Apell, p. 304. No. 3. 
After Raphael. Trial proof before all letters and the halos 
of the Madonna and the Child. Also before much other 
work, so that it must be considered an unfinished trial 
proof. Very rare. Framed. 


Third Session, Tuesday Afternoon, April 13th 


MULLER, JOHANN FRIEDRICH WILHELM 


625. St. Joun THE Evancenist. Line-engraving. 
Apell, pp. 304-305. No. 4. 
After Domenichino. Fourth state. Early impression be- 
fore the date 1808 was changed to 1812. Supers mmpREs- 
SION IN PERFECT CONDITION AND VERY RARE. 


JOHANN GOTTHARD VON MULLER 


Born at Bernhausen, near Stuttgart, 1747; died in Stuttgart, 1830.° Pupil 
of J. G. Wille. 


MULLER, JOHANN GOTTHARD VON 


626. Mme. Lovisr ExisasetraH Victe-Le Brun. Line-engraving. 
1785. 
Apell, p. 312. No. 28. 
After her own painting. First state. Artist’s proof, with 
“Muller, sc.” scratched in the middle of the upper mar- 
gin. Framed. 
From the W: H. Daugherty Collection. 


AGOSTINO DE’ MUSI 


(Called Venegiano) 


Flourished at Venice and Rome from 1514 to 1536. Pupil of Giulio Cam- 
pagnola and later formed his style after that of Albrecht Diirer. Finally 
he became a disciple of Marc Antonio and one of his most successful fol- 
lowers. 


MUSI, AGOSTINO DE’ 


627. Tue Isrartires GarHEerInc Manna 
Bartsch, XIV. No. 8. Andresen, II, No. 3. 
After Raphael. Second state (of 7). Fine impression 
with the engraver’s initials, but before the retouch and 
Salamanca’s address. 
From the Count von Fries, Et. Durand, CUES Marshall 
and J. Reiss Collections. 


MUSI, AGOSTINO DE’ 


628. Ipnicenta RecocenizEs Orestes anD Pytaprs. Engraving. 
Bartsch, XIV. No. 194. 
After a drawing by Baccio Bandinelli. First state. Very 
early impression before Salamanca’s address. 


Third Session, Tuesday Afternoon, April 13th 


MUSI, AGOSTINO DE’ 


629. Apotto anp Dapune. Engraving. | 
Bartsch, XIV. No. 317. . 
Second state. The year 1515, which the plate bore orig- — 
inally, has been changed to 1518, but before the address — 
of Salamanca was added. In one corner appears the col-— 
lector’s stamp “S. P.”” which is probably the unidentified — 
collector’s mark “Fagan No. 482.” Framed. — 


MUSI, AGOSTINO DE’ 


630. Venus anp Curip. Engraving. 
Bartsch, XIV. No. 318. 


_ VERY FINE IMPRESSION. 
From the R. Fisher Collection. 


MUSI, AGOSTINO DE’ 


631. PEasanr anp THE WoMAN WITH THE Basket oF Eces. En- 
graving. 
Bartsch, XIV. No. 458. 
After Raphael. Very FINE IMPRESSION AND VERY RARE. 
This is one of the engraver’s best plates. 


From the Sir Peter Lely, Auguste-Toulet-Malassio and 
J. Reiss Collections. 


LORENZO DE’ MUSI 


Son of Agostino de’ Musi. One engraving only is known to have been exe- 
cuted by him bearing the date 1535. 


MUSI, LORENZO DE’ 


632. Portrair oF Barsarossa, Bey or Atcrers. Painter-engrav- 
ing. 1535. 


From the Griggs Collection. 


Kheyr-ed-Din Barbarossa, brother of Horuk Barbarossa, whom he suc- 
ceeded as Bey of Algiers in 1518. Having surrendered the sovereignty of 
Algiers to the Turkish Sultan, Selim I, in order to gain support against 
*the Spaniards, he was appointed General, and received, in 1519, a reinforce- 
ment of 2000 Janizaries. He made himself master of Tunis, but in 1535 the 
Emperor Charles V besieged and captured the city and liberated a vast 
number of Christian slaves. He was appointed a High Admiral to the 
Ottoman fleets in 1537, and in conjunction with Francis I captured Nice in 
1543. He died in Constantinople in 1546. 


i 
| 
i 


Third Session, Tuesday Afternoon, April 13th 


ROBERT NANTEUIL 


Born in Rheims, 1623; died in Paris, 1678. The most eminent of French 
portrait engravers. 


NANTEUIL, ROBERT 


633. FRancois pE VENDOME, Duc pr Bravurort. Line-engraving. 
Robert Dumesnil, IV. No. 33. 


After Nocret. Second state. VERY FINE IMPRESSION. 


NANTEUIL, ROBERT 


634. Pompone pe Betiitver. Line-engraving. 
Robert Dumesnil, IV. No. 37. 
After Charles Le Brun. Second state. Very FINE IM- 
PRESSION, with the “Crochet” after the word “sculpebat.” 
THIs Is CONSIDERED TO BE ONE OF THE FOUR FINEST POR- 
TRAITS IN LINE-ENGRAVING. Framed. 


NANTEUIL, ROBERT 


635. Jacques BENIGNE BossvEr. Line-engraving. 1674. 
Robert Dumesnil, IV. No. 45. 
From life. First state. 


NANTEUIL, ROBERT 


636. GopEFRoI Maurice pE LA Tour pv’ AuvERGNE, Duc bE Bovlit- 
ton. Line-engraving. 
Robert Dumesnil, IV. No. 49. 
From life. Surrerr IMPRESSION. 


NANTEUIL, ROBERT 


637. Jacaves, Marauis pE Castetnav. Line-engraving. 1658. 
Robert Dumesnil, IV. No. 58. 
From life. Second state with the inscriptions. VERY FINE 
AND WITH GOOD MARGIN. 
Marshal of France, Lieutenant-general of the armies of the king in Flan- 
ders, Governor of Brest. He was mortally wounded in 1658 at the siege 


of Calais. This plate was engraved for Memoires de Michel de Castelnau, 
by J. Lelaboureur. Paris, 1659. 


NANTEUIL, ROBERT 


638. Jean Baptiste Corsert. Line-engraving. 1668. 
Robert Dumesnil, IV. No. 74. 


Engraved from life. Second state. Very rine. Framed. 


Third Session, Tuesday Afternoon, April 13th 


NANTEUIL, ROBERT 


639. Bastt Fovauet. Line-engraving. 1658. 
Robert Dumesnil, IV. No. 97. 
From life. First state; before the date 1658 was chan en 4 
to 1660. Very FINE IMPRESSION with a very narrow mar- 
gin. 
From the F. Rumpf Collection. 


NANTEUIL, ROBERT 
640. Nicuotas Fovaver (born, 1615; died, 1680). Line-engray- & 

ing. L661, 
Robert Dumesnil, IV. No. 98. 


From life. First state (of 6). VERY FINE IMPRESSION — 4 


WITH THE MISSPELLING “*MIssIVE” INSTEAD oF “‘Mezsstvn.” 
Small margin. VERY RARE. 


NANTEUIL, ROBERT 


641. Jean-Baptiste Bupres, ComTEe pE GursBriant. Line-engray- 
ing. 
Robert Dumesnil, IV. No. 104. 
From life. First state. Very Fringe uvpression before the 
words “Nominé a l’Ordre du St. Esprit” were replaced 
by “ét gouverneur d’Auxonne Ec.” With good margin. 


NANTEUIL, ROBERT 


642. Louis Hessetty, ConsEILLer p’Erat. Line-engraving. 1658. 
Robert: Dumesnil, IV.. No. 110. | 
From life. First state. VERY FINE PROOF BEFORE THE 
INSCRIPTION ON THE BASE OF THE FRAME. No margin. 


NANTEUIL, ROBERT 


643. CHarLEes DE LA Porte, Duc pe Meiiturraye. Line-engrav- 
ing. 1662. 
Robert Dumesnil, IV. No. 118. 
From life. Second state. VERY FINE IMPRESSION, with the 
“crochet” after the date. Very small margin, with an 
unknown collector’s stamp. 


NANTEUIL, ROBERT 


644. Micuen Le Trexvuier (Ministre d’Etat). Line-engraving. 1658. 
Robert Dumesnil, IV. No. 130. | 
From life. Only one state known. FINE Impression, with- 
out margin. 7 | 


Third Session, Tuesday Afternoon, April 13th 


NANTEUIL, ROBERT 


645. Micuer Le Trevrier (Ministre d’Etat). Line-engraving. 1659. 
Robert Dumesnil, IV. No. 1381. 
From life. Only one state known. Supers IMPRESSION 
WITH LARGE MARGINS. 


NANTEUIL, ROBERT 


646. Jean Loner. Line-engraving. 1658. 
Robert Dumesnil, IV. No. 150. 
From life. Second state, before the comma after the 
name Loret in the verses below, but with the crochet after 
the date. Fine mpression, with small margin. 


From the E. Galichan, Firmin-Didot and Atherton Cur- 
tis Collections. 


Loret is chiefly remembered for his Gazette, written in vers libres, which 
he began to issue in 1650, and continued until his death in 1666. The 
Gazette appeared each week and was addressed to Mademoiselle de 
Longueville, who became later Duchesse de Nemours. From her he re- 
ceived a pension of 2,000 livres, and from Nicolas Fouquet, Superintendent 
of Finance, another 200 écus. This latter pension he lost when Fouquet 
was imprisoned in the Bastile, but Loret continued to uphold the fallen 
minister in the Gazette, and Fouquet, to his lasting honor, made a present 
of 1,500 livres to Loret, to enable the latter to continue the Gazette, but 
did not let Loret know to whom he was indebted for this gift. 


NANTEUIL, ROBERT 


647. Louis XIV. Line-engraving. 1666. 
Robert Dumesni, IV. No. 157. 
Engraved from life. First state. VERY FINE IMPRESSION 
before the letter “C” in the upper right hand corner. 
Framed. 


NANTEUIL, ROBERT 


648. Carprnat Jutes Mazarin. Line-engraving. 
Robert Dumesnil, IV. No. i7 
After Van Mol. First state. BrauTiruL PROOF BEFORE 
THE INSCRIPTION on the oval border; no margin. VERY 
RARE. 


NANTEUIL, ROBERT 


649. Carprnau Juces Mazarin. Line-engraving. 1656. 

| Robert Dumesnil, IV. No. 179. 
Engraved from life. Only one state mentioned. VERY 
FINE IMPRESSION. Framed. 


Third Session, Tuesday Afternoon, April 13th 


NANTEUIL, ROBERT 


650. Carpinat Jutes Mazarin. Line-engraving. 
Robert Dumesnil, IV. No. 186. 
Second state. SUPERB IMPRESSION IN PERFECT CONDITION. 


From the Captain Donadieu Collection. 


NANTEUIL, ROBERT 


651. Henri pe Mesmes, Prtstpent A Mortier av ParLEMENT DE 
Paris. Line-engraving. 1650. 
Robert Dumesnil, IV. No. 191. 


From life. First state. Very rine proor before the date 4 


was changed to 1654. Very small margin. 


NANTEUIL, ROBERT 
652. Henri pE Savoir, Duc p—E Nemours. Line-engraving. 1651. 
Robert Dumesnil, IV. No. 198. 
From life. First state. Supers impression, before the 
date was changed to 1652. Small margin. 
From the R. Pelzer Collection. 


NANTEUIL, ROBERT 


653. Nicotas Potter pe Novion (Premier President au Parlement 
de Paris). Line-engraving. 1664. 
Robert Dumesnil, IV. No. 207. 
From life. First state. Surers mpreEssion before the 
crochet after the date. With margin. 


NANTEUIL, ROBERT 


654. Harpourn pe Péririxe pe Beaumont (Archbishop of Paris). 
Line-engraving. 1665. 3 
Robert Dumesnil, IV. No. 213. 
From life; only one state known. VERY FINE IMPRES- 
SION WITH LARGE MARGIN. 


FOURTH SESSION 


TUESDAY EVENING, APRIL 13, 1915 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8.15 O'CLOCK 


Catalogue Nos. 655 to 866 inclusive 


GILLIS NEYTS 


Born in Holland, 1617; died there, 1687. 
NEYTS, GILLIS 


655. Tue Lirtrite Brivcr. Painter-etching. 
Dutwit,-V. <No.35. 
First state. ExTrREMELY FINE IMPRESSION. IN PERFECT 
CONDITION AND EXTREMELY RARE. 


From the R. Von Seydlitz Collection. 


NEYTS, GILLIS 


656. LanpscaPE witH THE River. Painter-etching. 
Dutuit, V. No. 6. 
Second state. SupEerB IMPRESSION. IN PERFECT CONDI- 
TION AND EXTREMELY RARE. 


| NIELLI 
NIELLO 


657. Tur AporaTION OF THE Maci 
Passavant, I, p. 276. Duchesne, No. 32. 
Niello formerly attributed to Maso de Finiguerra, but 
this attribution has been doubted by Passavant and Du- 
chesne. ImprESSION OF PERFECT CONDITION AND SUPERB 
CLEARNESS OF PRINTING. The lower border of the plate 
forms a straight line, while the three other sides show pe- 


Fourth Session, Tuesday Evening, April 13th 


[No. 657—Continued | 


culiarly shaped dents, in every second of which a nail-hole — 
can be seen, which served to hold the plate. Niello of the — 
greatest beauty and importance. Passavant mentions — 
that the composition and the rich manner of the ornaments — 
on the draperies remind one of the style of Gentile da Fa- 
briano. : 


NIELLO 


658. THe Baptism oF CHRIST 
Duchesne. No. 94. Passavant, I, p. 277. Italian niello ~ 
attributed to Maso da Finiguerra by Duchesne, who er- 
roneously describes this print with four saints instead of 
two. (See Passavant.) IwprEssiIon OF GREAT BEAUTY 
AND CLEARNESS; small tears, holes and weak spots under- 


laid. 
From the J. S. Morgan Collection. 


NIELLO 


659. ScENES FROM THE LIFE OF THE VIRGIN 
Dutuit! No. 72.: 
UNIQUE. 


From the Marquis Durazzo, W. Drugulin, Theodore Ir- 
win and J. S. Morgan Collections. 


Large Composition, in the centre the crowning of the Virgin, represented 
exactly in the manner of the famous “Pax,” by Maso da Finiguerra, Duch. 
129, with the only difference that the representation is not rounded in the 
upper part, but shows a quadrangular, architectural border; below, in an 
open landscape, the body of the Virgin, mourned by apostles. On both 
sides of the centrepiece, three scenes of the life of the holy Virgin. Dutuit 
and the Durazzo Catalogue describe the upper two of these as partly torn 
off and unrecognizable. Since the Durazzo sale, however, this print has been 
most cleverly restored, so that it appears now quite perfect on the face. 
These two upper scenes have been made up to represent the nativity of 
the Virgin on the left, and the Virgin’s visit to the Temple on the right side. 
Below, on the left, the betrothal of the Virgin and the nativity of Christ; on 
the right: The Annunciation and the Adoration of the Magi. Dutuit, who, 
however, gives the erroneous measurements of 250 mm. high and 472 mm. 
wide, describes this plate as: “Piéce magistrale trés intéressante, non décrite, 
provenant d’une piéce de dimensions considérables. L’épreuve unique de 
la collection Durazzo, Cat. No. 2926, s’est vendu 1000 florins.” The Durazzo 
sale Catalogue, No. 2926, describes it as: Masterful and most interesting 
composition; also as far as dimensions are concerned, unique in its kind, 


Fourth Session, Tuesday Evening, April 13th 


[ No. 659—Continued | 


undescribed. (Height, 9 in. 3 lines; width, 7 inches 8 lines, which is the size 
of this impression. ) 

On the mount the owner’s note, copying the handwriting of the late Mr. 
Wunderlich, on the previous mat, stating: Niello by Baldovinetti, a contem- 
porary and friend of Maso de Finiguerra of Florence: 

“This plate is, next to Finiguerra’s celebrated Pax, the most important 
monument of the earliest productions of the engraver’s art, and in size and 
composition it is even more important. It is unique, no other impression, 
nor even a fragment of one is known to exist.”—From the Marauis Durazzo 
Collection and later W. Drucvutrin.” 
. Aside from the fact that the print is browned all over, the impression is 
very clear and beautiful. It was folded across and torn in various places, 
but has since been repaired by a masterly hand; only after very careful 
| examination would the observer find out that the design has been restored 
in the two small upper scenes. However, a very careful inspection will 
show that the design is inferior in character and purity of line to that of 
the original parts—R. Epernermer. 


NIELLO 


660. ORNAMENTAL PANEL witH A FemMALEe Satyr Nursine Two 
CHILDREN. 
Duchesne. No. 862. 
Niello by Peregrino da Cesena; XV century. ONE oF THE 
MOST BEAUTIFULLY ENGRAVED NIELLI AND EXTREMELY 
RARE. 


NIELLO 


661. A Roman SacriFicE 
Passavant, p. 328. No. 687. 
Niello; also the original silverplate. 


WILLIAM NUTTER 


Born 1754 (?); died, 1802. 


: NUTTER, WILLIAM 
662. First Brre—Jvust. Brerecu’p. Stipples. 
Both after Stothard. A FINE parr, nicely printed in 
colors. 


Duplicates from the J. P. Morgan Collection. (2) 


Fourth Session, Tuesday Evening, April 13th 


JOHN OGBORNE 


Born, 1725; died, 1795. Pupil of Bartolozzi. 
OGBORNE, JOHN | 


663. MarcHanDE DE Cupipons. Stipple. | 
After F. Bartolozzi. Nicely printed in colors. VERY FINE — 
AND RARE. : 


SAMUEL PALMER 
PALMER, SAMUEL 


664. Earty Mornine 
Palmerye-210: 
Early AND BEAUTIFUL IMPRESSION on India paper, marked _ 
“Trial proof” by the artist and signed by him. Framed. 


From the W. S. Carter Collection. 


“This was one of the ten subjects from Virgil, and the design was, there- 
fore, one of picked excellence—the outcome of infinite study and selection. 
Some have agreed that it is his best production. We are inclined to this 
opinion; but, be this as it may, the work is ample evidence in itself of a still 
unclouded brightness of the faculties and an ee skill.’"—Mem- ~ 
oirs of Samvuet Patmer. 


OprENING THE Foup. Painter-etching. 


PALMER, SAMUEL 


665. Younce Baccuants. Mezzotint. 
VERY FINE IMPRESSION. 


A. PAPAVOINE 
Born, 1759; died, ——. 
PAPAVOINE, A. 


666. Innocent PLray—Wanton Tricks. Stipples. 
Both after Tomkins. BravutTiFuL coLor prints. (2) 


WILLEM VAN DE PASSE 


Born in Utrecht about 1598; died, 1637. Son and pupil of rae van de 
Passe, the elder. 


PASSE, WILLEM VAN DE 


667. Roserr Dupiey, Eart or Leicester. Line-engraving. 
Andresen, II, p. 265. No. 7. 


FINE EARLY IMPRESSION, but without margin and laid down. 


Fourth Session, Tuesday Evening, April 13th 


R. M. PAYE, Jr. 
Born about 1750; died, 1821. 
PAYE, R. M. Jr. 


668. Miss Decamp. Stipple. 1805. 
After Eliza Anne Paye. Very FINE IMPRESSION in brown- 


ish black ink. 
From the Royal Collection at Windsor. 


JOHN PAYNE 


Flourished in London from 1620 until 1648. 


PAYNE, JOHN 


669. Mr. Hosson or Hosson’s Cuoicet, tHE Famous CAMBRIDGE: 
Carrier. Line-engraving. 
Andresen, II, p. 269, No. 12. 
VERY FINE IMPRESSION with a small margin. 


From the Earl of Aylesford Collection. 


GEORGE PENCZ 


Born in Niirnberg about 1500; died at Koenigsberg, 1550. As a native of 
Niirnberg, he was admitted into the Guild of Painters in 1523. After he 
had been, if not under the instruction, at least under the influence of 
Albrecht Diirer, he was associated with the Behams and with them in 1524 
underwent the sentence of banishment for heresy. He was, however, fre- 
quently in Niirnberg until the year 1532, when he came back to live there 
altogether. He seems to have visited Italy several times and is said to 
_have studied under Marc Antonio Raimondi. 


PENCZ, GEORGE 


670. Curist Temprep By THE Devit. Painter-engraving. 
Bartsch, VIII. No. 39. 
(No. 11 of the set “The Life of Jesus Christ.’’) 
Bartsch, 30-54. 


PENCZ, GEORGE 


671. THe Conversion. oF Satu. Painter-engraving. 1543. 
Bartsch, VIII. No. 69. 


VERY FINE IMPRESSION. 
From the W. Esdaile Collection. 


Fourth Session, Tuesday Evening, A pril 13th 


PENCZ, GEORGE 


672. THomiris IMMERSING THE Heap OF Gree In A Bac Pinup 2 
witH Buoop. Painter-engraving. 


Bartsch, VIII. No. 70. 


VERY FINE IMPRESSION. 
From the Frauenholz Collection. 


PENCZ, GEORGE 


673. Jason anp MepEa. Painter-engraving. 
Bartsch, VIII. No. 71. 
VERY FINE. 


PENCZ, GEORGE 


674. Horatius Coctes DEFENDING THE BripcE AT Rome. Painter- 
etching. 
Bartsch, VIII. No. 80. 


FINE IMPRESSION. 


PENCZ, GEORGE. 


675. TrrumpyH or Baccuus. Painter-engraving. 
Bartsch, VIII. No. 92. 


VERY FINE IMPRESSION. 
From the Dr. Strater Collection. 


WILLIAM PETHER 


Born at Carlisle, 1731; died, 1795. Painted portraits and miniatures; studied 
mezzotinting and attained great excellence. 


PETHER, WILLIAM 


676. Portrair or W. Peruer. Mezzotint. 
C. Smith, III. No. 26. 
After his own painting. First state. Supers PROoF. 


PETHER, WILLIAM 
677. A Jew Raper. Mezzotint. 


C. Smith, III. No. 39. 
After Rembrandt. Proof before all letters. 


From the W. Esdaile Collection. 


Fourth Session, Tuesday Evening, April 13th 


GIAMBATTISTA PIRANESI 


Born in Venice, 1720; died, 1778. “His plates are of large size, and are 
etched with so much picturesque boldness and ruggedness that he well de- 
serves the sobriquet of “The Rembrandt of Architecture.’ ” 


PIRANESI, GIAMBATTISTA 


678. View or THE TEMPLE oF JANuUs—THE CoLisEuM (bird’s-eye 
view). Painter-etchings. 
(From the Views of Rome.) From the rare first edition. 


Framed. (2) 


PIRANESI, GIAMBATTISTA 


679. Iste or THE TipER—THE PanTHEON. Painter-etchings. 
(From the views of Rome.) From the rare first edition. 


Framed. (2) 


PIRANESI, GIAMBATTISTA 


680. InrTERIorR oF THE CoLisEUM—EXTERIOR OF THE COLISEUM. 
Painter-etchings. 
(From the views of Rome.) From the rare first edition. 


Framed. (2) 


PIRANESI, GIAMBATTISTA 


681. Tue Arco or Tirus—THeE Arcu or ConsTANTINE. Painter- 
etchings. 
(From the views of Rome.) From the rare first edition. 


Framed. (2) 


Fourth Session, Tuesday Evening, April 13th 


ANTONIO POLLAIUOLO 


Born in Florence, 1432; died in Rome, 1498. Goldsmith, sculptor, painter 
and engraver with the burin. He learned the goldsmith’s art from Barto-_ 
luccio Ghiberti, and was famous in his time as an originator and a skilfull — 
caster of little figures and an ingenious cutter of precious bas-reliefs. He — 
studied painting with his brother Pietro and practiced that art all his life. — 
The number of his prints is very small. We are familiar with only three.” _ 
—Bartscu. 


POLLAIUOLO, ANTONIO 


682. BatrLe oF THE Nupes. Engraving. 
Bartsch, XIII. No. 2. 


EXTREMELY FINE IMPRESSION AND EXCESSIVELY RARE. 


Kristeller says that this is the only print which can with certainty be 4 
ascribed to Pollaiuolo. : 
“Soon after the discovery of the art of engraving, he made himself a master 
of the secret, and engraved his ‘Battle of Nude Figures,’ which, according 
to Lanzi, was executed about 1480; because, having acquired great celebrity 
by it, he was invited to Rome in 1484 to erect the monument of Sixtus IV, 
who died on the 11th of August of that year. Vasari praises this print very 
highly.”—Lovis Facan. 


NICOLAS PONCE 


Born in Paris, 1746; died there, 1831. “Nicolas Ponce was an engraver of 
great merit, and second only to Nicolas de Launay, whose pupil he was, in 
rendering the work of Baudouin.”—Lavrence and Dicuton. 


PONCE, NICOLAS 


683. Annetre er Lovsry. Line-engraving. 
Portalis and Beraldi, III, p. 836. No. 4. 
After P. A. Baudouin. Proof before the title and dedica- 
tion. 


CARLO ANTONIO PORPORATI 


Born at Volvera, near Torino, 1741; died in Torino, 1816. Went to Paris 
and became a pupil of Chevillet, Wille and Beauvarlet. In 1773 he was 

_made a member of the Academy in Paris, and engraved for his reception 
plate, Susannah at the Bath, after Santerre, his masterpiece. 


PORPORATI, CARLO ANTONIO 


684. Tue Baru or Susannan. Line-engraving. 
Apell, p. 337. No. 4. | 
After Santerre. First state. Artist’s proof. Frye m- 
PRESSION, IN PERFECT CONDITION. Framed. 


Fourth Session, Tuesday Kvening, April 13th 


_ PORPORATI, CARLO ANTONIO 


685. Venus CareEssine Cuprp. Line-engraving. 
mpeil, p. 337. No. 5. 
After P. Battoni. State before the first mentioned. Svu- 
PERB PROOF BEFORE ALL LETTERS AND THE COAT-OF-ARMS. 
This plate having been so delicately engraved and printed 
on a rather flimsy paper is extremely rare in such fine and 
well preserved proof. Framed. 


PORPORATI, CARLO ANTONIO 


686. In Bacno pi Lepa. Line-engraving. 

Apell, p.. 387. No. 6. 

After Correggio. State before the first mentioned. Sv- 
PERB REMARQUE PROOF, with the white end of the broken 
limb of the tree. ExTremEety rare. Framed. 


PORPORATI, CARLO ANTONIO 


687. Girt witH Doc. Line-engraving. 
Apell, p. 338. No. 18. 
After J. B. Greuze. Third state. Fine impression, but 
laid down. 


AUGUSTE RAFFET 
- Born in Paris, 1804; died in Genoa, 1860. 
RAFFET, AUGUSTE 


688. ComBat D’OvED-ALLEG 
Giacomelli.. No. 82. 
Fine impression on India paper. Atherton Curtis con- 
siders this work his masterpiece. Framed. 


From the W. S. Carter Collection. 


“Of Raffet’s works on the army of his own time, the Combat d’Oued-Alleg, 
considering all its qualities, is perhaps the artist’s masterpiece.” —ATHERTON 
CorrIs. 


Fourth Session, Tuesday Evening, April 13th 


FRANCESCO RAIBOLINI 
(Called Francia) 
Born in Bologna, 1450; died, 1517. 
RAIBOLINI, FRANCESCO 


689. LucrETIA 
Passavant V. 197. 
EXTREMELY RARE. 


From the J. Reiss Collection. 


JACOPO RAIBOLINI 
(Called Francia) 


Born in Bologna, 1487; died, 1557. 
RAIBOLINI, JACOPO 


690. BaccHanaL 
Bartsch, XJII. No. 7, — 
Bartsch describes this print as the work of the Mono- — 
gramist I. F. SupERB IMPRESSION AND EXCESSIVELY RARE. — 


From the Baron Von Lanna Collection. — 


MARC ANTONIO RAIMONDI 


Born in Bologna about 1480; died there about 1530. Started work in the 
atelier of Francesco Francia. The antique had from the first a very strong 
fascination for him. About 1505 Raimondi came under the strong influ- 
ence of Diirer, and made a series of copies of The Life of the Virgin and 
other woodcuts. He had now reached (1509) a degree of sureness and tech- 
nical mastery of engraving which had not been attained up to that time in 
Italy. In 1509 or 1510 he went to Rome. At just this period he seems to 
have been much influenced by Lucas of Leyden. Shortly after coming to 
Rome he entered the studio of Raphael, and it is with Raphael’s name that 
Marcantonio is associated most closely in the history of engraving. To 
Raphael he owed, above all, the ennobling of his artistic feeling for form 
and the astonishingly rapid development of his ability in drawing. 


RAIMONDI, MARC ANTONIO 


691. Apam anp Eve. Engraving. 
Bartsch, XIV. No. 1. > 
Framed. : 


“Elle est trés belle, et en méme temps une des plus rares de l’ceuvre de ce 
graveur.”—BartscH. 


Fourth Session, Tuesday Evening, April 13th 


RAIMONDI, MARC ANTONIO 


692. JosepH AND PotipHar’s Wire. Engraving after a drawing by 
Raphael. 
Bartsch, XIV. No. 9. 


FINE IMPRESSION. 


RAIMONDI, MARC ANTONIO 


693. Tur Massacre or THE Innocents (the plate without the fir- 
tree). Engraving. 
Bartsch, XIV. No. 20. 
After Raphael. First state. Brittianr mmprREsston be- 
fore Salamanca’s address. 


RAIMONDI, MARC ANTONIO 
694. Tue Last Supper. Engraving. 
Bartsch, XIV. No. 26. 
After Raphael. Supers mMpRESSION ON PARCHMENT. OF 
EXTREME RARITY; POSSIBLY UNIQUE. Framed. 


From the Puccini and A. Morrison Collections. 


RAIMONDI, MARC ANTONIO 


695. Paut Preacuine ar ATHENS. Engraving. 


Bartsch, XIV. No. 44. 
After a drawing by Raphael. Fine ivpression. Framed. 


RAIMONDI, MARC ANTONIO 


696. Tue Marryrpom or St. Lawrence. Engraving. 
Bartsch, XIV. No. 104. | 
Second state. One of the wooden forks held by the man 
standing at the left has been removed. ExcELLEent IM- 
PRESSION. Framed. 


RAIMONDI, MARC ANTONIO 


697. St. Ceciuia. Engraving. 
Bartsch, XIV. No. 116. 
After Raphael. SupEeRB IMPRESSION, WITH MARGINS SHOW- 
ING THE DOUBLE BORDER LINES. The quality of this m- 
pression is equal to the one in the British Museum, which 
has its margin cut down to the inner line. 


Fourth Session, Tuesday Evening, April 13th 


RAIMONDI, MARC ANTONIO 


698. Tur Dance or Cupips. Engraving. 
Bartsch, XIV. No. 178. 


After Raphael. Fixe mpression AND VERY RARE. 
~ From the Hibbert and Sir Joshua Reynolds Collections. 


RAIMONDI, MARC ANTONIO 


699. Two Fauns Carryine a Curtup 1n A Basket. Engraving. 
Bartsch, XIV. No. 280. 
After the antique. VERY FINE IMPRESSION. 


“One cannot very well desire anything more perfect, as far as design and 
engraving are concerned, than this superb print.”—BartscuH. 


RAIMONDI, MARC ANTONIO 


700. THe JupGMENT oF Paris. Engraving. 

Bartsch, XIV. No. 245. 

After a design by Raphael. ProBaBLy THE FINEST IM- 
PRESSION IN EXISTENCE. ‘The tone obtained by the use of 
pumice-stone, which gives so fine an effect to this impres- 
sion, is usually scarcely visible. Framed. 

From the Henry Bradhurst, Thomas Whitehead and AI- 
fred Hubert Collections. 


“Still about the same time, but more ambitious in composition, and nearer 
to the ‘Pyramus and Thisbe’ in the close and more Goldsmith-like shading, 
should be placed ‘The Judgment of Paris-—where the same delicate man- 
ner is carried to even greater finesse.’—Hrnp. 


RAIMONDI, MARC ANTONIO 


701. THe Youne anp THE Otp Baccuant. Engraving. 
Bartsch, XIV. No. 294. 
After Guilio Romano. FINE OLD IMPRESSION. 


From the Herman F. Weber Collection. 


RAIMONDI, MARC ANTONIO 


702. Vutcan, VENus anp Curip. Engraving. : - ‘ 
Bartsch. No. 326. 
EXTREMELY FINE IMPRESSION AND IN PERFECT CONDITION. 
This is much more primitive in style than most of Rai- 
mondi’s plates. 


From the Alfred Hubert Collection. 


Fourth Session, Tuesday Evening, April 13th 


-RAIMONDI, MARC ANTONIO 


703. Mars, Venus anp Curpip. Engraving. 
Bartsch, XIV. No. 345. 


SUPERB IMPRESSION. Framed. 


From the W. Esdaile Collection. 


RAIMONDI, MARC ANTONIO 


704. ‘TRavsaAN CrownepD By Victory. Engraving. 
Bartsch, XIV. No. 861. 
After the antique. 


“This print, which was engraved after one of the reliefs from the Arch of 
Constantine, is one of the most beautiful and one of the most esteemed of 
Marec-Antonio’s works.”—Bartscu. 


RAIMONDI, MARC ANTONIO 
705. A Maw anp|a Woman Conversine at THE Epce or a Woop. 
Engraving. 
Bartsch, XIV. No. 377. 
AN-IMPRESSION OF THE FINEST QUALITY IN ABSOLUTELY 
PERFECT CONDITION and with large margin. 


From the A. Morrison and P. Gellatly Collections. 


“This plate is engraved with an extremely delicate burin-stroke in the 
early manner of Marcantonio and appears to be after Francesco Francia.” 
—Bartscu. 


RAIMONDI, MARC ANTONIO 


706. Portry. Engraving. 
Bartsch, XIV. No. 382. 


After Raphael. VERY FINE IMPRESSION. 


From the King Ferdinand of Portugal and Count Enzen- 
_berg Collections. 


RAIMONDI, MARC ANTONIO 


707. Tue Turee Docrors. Engraving. 
Bartsch, XIV. No. 404. 


VERY FINE AND EXTREMELY RARE. 


From the J. D. Bohm and J. Reiss Collections. 


Fourth Session, Tuesday Evening, April 13th 


RAIMONDI, MARC ANTONIO 


708. Tur Hunt or Trasan. Engraving. 
Bartsch, XIV. No. 422. 
After Raphael’s design from an antique basso-rilievo on a — 
sarcophagus, which used to be at St. Peter’s, Rome, but 
is now in the Louvre, Paris. Goop OLD IMPRESSION. 


RAIMONDI, MARC ANTONIO 


709. THE Criimspers. Engraving. 
Bartsch, XIV. No. 487. 
After Michel Angelo’s cartoon ‘The Battle of Pisa.” Very 
FINE IMPRESSION AND EXTREMELY RARE. 


RAIMONDI, MARC ANTONIO 


710. La CasoLetTre 
Bartsch, XIV. No. 489. 
After Raphael. Probably drawn for Francis I. Sprenprip 
IMPRESSION AND VERY RARE IN SUCH QUALITY. 
From the Sir Peter Lely and Baron C. Marochetti Col- 
lections. 


“Marc Antonio a gravé cette éstampe dans le temps de sa force.”—Bartscu. 


RAIMONDI, MARC ANTONIO 


711. Porrrarr or Rapuarr. Engraving. 
Bartsch, XIV. No. 496. 


BEAUTIFUL IMPRESSION AND VERY RARE. 


PAUL RAJON 


Born at Dijon, 1844; died in Paris, 1888. “He studied etching under 
Gaucherel and Flameng, and at the Salon of 1869 received a medal. In the 
following year, and again in 1873, he received medals for his. etchings; and 
at the Universal Exposition of 1878 he was placed Hors Concours for his 
masterly portrait of Darwin. When his fame was at its height, and when 
commissions were being showered upon him, he died.”—H. Berratozr. 


RAJON, PAUL 


712. Portrair or CarpinaL Newman. Etching. 
Beraldi. No. 167. ' 
After W. W. Ouless. Remarque proof on Japanese paper, 
signed by both artists. Rare In THIs state. Framed. 


From the W. S. Carter Collection. 


Fourth Session, Tuesday Evening, A pril 13th 


REMBRANDT VAN RIJN 


Born in Leyden, 1607; died in Amsterdam, 1669. Pupil of Swanenburch 
and Pieter Lastman. “The opinion among etchers which enthrones Rem- 
brandt as the King of his craft is the most recent instance of perfect 
unanimity among people of all nationalities. As we all say that Phidias 
was the greatest sculptor, Homer the greatest epic poet, and Shakespeare 
the greatest dramatist, so we are all agreed on the world-wide supremacy of 
Rembrandt. In his own lines of work there is no one in all history to be 
compared with Rembrandt; in artistic influence he has one equal entirely 
unlike himself, and that is Raphael. They are the two most influential 
graphic artists of all time.’—P. G. Hamerton. 


REMBRANDT VAN RIJN 


713. Portrair oF Rempranpt Wearine a Sorr Car. Painter- 
etching. 
Bartsch. No. 2. 
Full face. (Rembrandt aux trois moustaches.) Assumed 
date, 1631. Only one state known. VERY FINE IMPRES- 
SION. 


Ee 


REMBRANDT VAN RIJN 


714. Portrait or REMBRANDT WITH A FLAMBOYANT Sworp. Paint- 
er-etching. 1634. 
Bartsch. No. 18. 
Second state. Frne impression on paper with the water- 
mark coat-of-arms of the Archduke Albrecht. 


From the G. D. de Arozarena and G. Hibbert Collections. 


This print was done in Rembrandt’s earliest period and is dated 1634. It 
shows the Rembrandt of the early times when he loved to dress himself up 
in all sorts of picturesque costumes, of which his house in the Breedstrat 
was a perfect museum. 


REMBRANDT VAN RIJN 


715. Portrait oF REMBRANDT IN VELVET Cap AND Puiume. Paint- 
er-etching. 1638. 
Bartsch. No. 20. 
Only one state known. VERY FINE EARLY IMPRESSION, 
WITH THE NAME OF REMBRANDT AND THE DATE, which is 
delicately traced in the upper left portion of the plate, and 
plainly visible. 
“The face and hair are carried out quite exquisitely, with a peculiar deli- 
cacy, and the different stuffs are characterized in the most masterly way, 


the velvet of the cap, adorned with an ostrich feather, the silk and the 
gold braid on the fur-lined cloak.”—H. KnacxkrFuss. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


716. Rempranpr Leanine on a Stone Sitz (“Rembrandt Ap-— 
puyé”’). Painter-etching. . 
Bartsch. No. 21. a 
Second state. ONE OF THE VERY FINEST IMPRESSIONS IN — 
EXISTENCE. The color on the edge of this impression was — 
probably put on by Rembrandt with a view to changing — 
the plate in some way. This is just the same kind of — 
color that he used in sketching on early trial impressions — 
of this plate, and also on “Rembrandt with Embroidered : 
Mantle.” Some of these trial proofs are in the great 
public collections abroad. Framed. 


From the Beham, F. S. Haden and Alfred Hubert Cola 


lections. 


REMBRANDT VAN RIJN 


717. Porrrarr or Huser, Drawine. Painter-etching. 1648. 
Bartsch. No. 22. 
Ninth state. A veERY FINE IMPRESSION, rich in tone. 


Framed. 


REMBRANDT VAN RIJN 


718. ABpraHAM SENDING Away Hacar. Painter-etching. 1673. 
Bartsch. No. 380. = 
Only one state known. FINE IMPRESSION ON PAPER, With 
the watermark “Double eagle.” | . 


“All the qualities of Rembrandt are united to a high ee in this print; 
beauty of expression, arrangement, delicacy, richness of detail, and chiaro- 
scuro.”—Crartes Brianc. 

“This is one of the most perfectly delicate of all of Rembrandt’s etchings. 
The sureness of the faint, thin lines on which the expression of the face 
chiefly depends, the masterly reservation of reflections and half-lights in 
open shading, the opportune omission of labor where omission was better 
than toil, justify our admiration.”—P. G. Hamerron. 


REMBRANDT VAN RIJN 
719. ABraHaAm CareEsstneG Isaac. Assumed date, 1637. 
Bartsch. No. 33. 


First state. VERY FINE IMpREssION before the slip of the 
point above Isaac’s shoulder. 


a 


“This little plate is done in Rembrandt’s best period and is among the most 
spirited and delicate of all.”—Banrtscu. 


Fourth Session, Tuesday Kvening, April 13th 


REMBRANDT VAN RIJN 


720. Jacozn LAMENTING THE SupposED Dratu or JosePH. Painter- 
etching. Assumed date, 16383. 
Bartsch. No. 88. 
Second state. Fine IMPRESSION WITH THE RETOUCH. 


REMBRANDT VAN RIJN 


721. Kine Davin 1n Prayer. Painter-etching. 1652. 
Bartsch. No. 41. 
First state. ExrreMELY FINE IMPRESSION, before a little 
white space near the upper left hand border was shaded. 


i “The David on his Knees has more ‘color,’ but is near akin to the Tobit in 
: pathetic intensity of sentiment.”—P. G. Hamerron. 


REMBRANDT VAN RIJN 


722. Tue Buinpness or Tosir. Painter-etching. 1651. 
Bartsch. —No. 42. 
Only one state accepted now. VERY EARLY IMPRESSION, 
WITH SOME BURR ON THE DRYPOINT. EXTREMELY RARE. 


“There are a few remarkably good etchings of 1651. First the wonder- 
fully delicate little print of The Blind Tobit, the most striking and 
affecting picture of the helplessness of a man struck blind.” 

“One of Rembrandt’s most touching Biblical illustrations, Tobit Blind, with 
the Dog, a work in which the mental conception, which is most pathetic, 
is everything, and the manual performance so simple, so devoid of all pre- 
tension, that it requires some knowledge of etching to recognize the strength 
of the master.” 


REMBRANDT VAN RIJN 


723. Tur AncEL APPEARING TO THE SHEPHERDS. 1634. 
Bartsch. No. 44. 
Third state. Supers mrrression from the completely fin- 
ished plate, before any retouch. 
From the Sir John Day Collection. 


The effect of a print of this plate almost entirely depends upon the clear- 
ness of the nocturne landscape in the distance to the left. 

“These great scenes from the Bible, no one has conceived them better than 
Rembrandt, and no one felt more keenly their touching and simple poetry. 
‘The Apparition of the Angels to the Shepherds’ has been the subject of 
many pictures, but how often does one rest indifferent to the representa- 
tions of this marvelous scene! Rembrandt finds here occasion to show the 
two most astounding sides of his genius—expression and chiaroscuro.”— 
Cuartes Banc. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


724. Tur PresENTATION IN THE TEMPLE (in Rembrandt’s dark 
manner). Painter-etching. Assumed date, 1654. 4 
Bartsch. No. 58. ; : 
Only one state known. SPLENDID IMPRESSION OF THE UT- | 
Most RARITY. Duplicate from the British Museum. 
From the Marsden J. Perry Collection. 


“The brilliancy of the sacerdotal vestments is rendered here with a power — 
so extraordinary that the plate is a great technical feat. The lines are © 
coarse and rude, but so entirely synthetic and intelligent in their arrange- 
ment that the splendor of gold and jewels and embroidery is fully sug- — 
gested to the imagination. The high priest, who is standing, is one of the me : 
most imposing figures amongst all the creations of Rembrandt, who had 
a keen appreciation of sacerdotal dignity and magnificence. P. G. Ham- 
ERTON. . 


REMBRANDT VAN RIJN 


725. Tue Fruicut Intro Ecypr—Tue Hoty Famity Crossine A 
Ritut. Painter-etching. 1654. 

Bartsch. No. 55. . 

Only one state known. A WONDERFUL IMPRESSION, FULL 

OF BURR, on Japanese paper. “ 

“The Virgin resting her hand upon her saddle bends her head with an 

air of sadness; the precaution of the old man who tests the depth of the 
water with his stick is expressed in the most vivid manner; the donkey is 

a little ‘chef d’ceuvre’, of drawing and etching. If this little print were rare 

it would be worth an enormous price, so charming is it."—CHartErs Banc. 


REMBRANDT VAN RIJN 


726. Tue Rest in Eeypt. Painter-etching. 1645. 
Bartsch. No. 58. 
In outline. Only one state known. Fine Impression. 
From the Petit-Didier and Rosenberg Collections. 


REMBRANDT VAN RIJN 


727. Curist Disputing wirH THE Doctors (the larger plate). 
Painter-etching. 
Bartsch. No. 65. > 
First state. Very FINE ImpREssion, before the plate was 
disfigured by oxide at the top and right edge. With a tone 
left on the plate which adds materially to the effect of the 
finish. 


“Jesus Disputing with the Doctors; The Larger Plate, is a masterly sketch 
like “The Tobit,’ in which the imaginative conception of the scene far pre- 
dominates over simple handicraft.”—P. G. Hamerron. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


728. Curist Preacuine (called “The Little La Tombe’’). Paint- 
er-etching. Assumed date, 1652. 
Bartsch. No. 67. 
Only one state accepted now. ExTREMELY FINE, EARLY 


IMPREssIon, full of burr and on paper with the water- 
mark **Folly,” the kind which is not often met with. 


“Though less important than the Hundred Guilders Print, The Christ 
Preaching is certainly as strong as, if not stronger than, its great com- 
panion in its drawing of human character. The profound attention of the 
assembly, the marvelous expressions of their faces as they listen to the 
words of Christ, make an impression upon us that cannot be forgotten, 
and we are as if we ourselves were there listening to what the great 
Preacher has to say.”"—ATHERTON CuRTISs. 


REMBRANDT VAN RIJN 


729. Curist AND THE WomMAN oF Samaria; Amone Rurins. Painter- 
etching. 1634. 
Bartsch. No. 71. 
First state. Very FINE IMPRESSION, with the two lines 
across the plate near the top. 


REMBRANDT VAN RIJN 


730. Curist Heawine THE Sicx (generally known as the Hundred 
Guilders Print). Painter-etching. | 

Bartsch. No. 74. 
Second state. Supers impression, with the diagonal lines 
on the donkey’s neck, but before any retouch. On paper 
with the crowned shield and fleur-de-lys. THis 1s GENER- 
ALLY CONCEDED TO BE THE GREATEST OF THE MASTER’S 
ETCHINGS. Framed. 


REMBRANDT VAN RIJN 


731. Tur Acony In THE GarpEN. Painter-etching. Assumed date, 
1657. 
Bartsch. No. 75. 
Only one state known. BravriruL IMPRESSION on Japan- 
ese paper. 


“Here all the sorrows unite to overwhelm his soul and plunge it into an 
ocean of bitterness. . .. What profoundness of sentiment! What poetry 
in the setting of this august drama, and what grandeur in so small a 
frame !”—Cuaries Branc. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


732. Tue Turee Crosses. Painter-etching. 1653. 
Bartsch. No. 78. | 3 
First state. SupERB PROOF, WITH THE TRIANGULAR, UN- 
SHADED SPACE NEAR THE RIGHT EDGE. Printed on vel- 
lum, which has acquired a wonderfully rich ivory tone. — 
TuHIs IS PROBABLY THE FINEST IMPRESSION IN EXISTENCE, 4 
having been pronounced by a famous expert to be much _ 
finer than the one in the print room of the British Museum. ® 
Framed. | ie 

“When Rembrandt had passed his fiftieth year he seems to have put still } 
more fire into his painting, and to have worked with even greater breadth 
of handling; and there was a corresponding change in his style of etching. 
His Biblical subjects appear like weird visions wrapped in mysterious 
light; witness his powerful crucifixion known as The Three Crosses.”— 
LirppMANN. 


REMBRANDT VAN RIJN 


733. Tue Crucirixion (a small oval plate). Painter-etching. As- i a 
sumed date, 1640. . 
Bartsch. No. 79. 
First state. A vERY FINE IMPRESSION, with the left arm 
of the cross touching the border. P. Mariette’s signa-_ 
ture and the date 1670 on the back of the print. ‘ 


REMBRANDT VAN RIJN 


734. Curist Carrrep To THE Toms. Painter-etching. Assumed 
date, 1645. 
Bartsch. No. 84. , 
Only one state- known. VERY EARLY IMPRESSION, WITH - 
MUCH BURR AND AN UNUSUAL AMOUNT OF TONE ON THE 
PLATE. 


From the F. S. Haden and Marsden J. Perry Collections. 
REMBRANDT VAN RIJN 


735. Crist 1x THE Mipst or His Discrpies (the incredulity of — 
Thomas). Painter-etching. 1650. 
Bartsch. No. 89. : 
Only one state known. VERY FINE IMPRESSION On paper 
with the watermark ‘‘Folly.” Extremely rare. 


This plate is executed in a wonderfully free and summary manner, which 
accords somewhat with the subject, the sudden apparition of Christ in the 
midst of his Disciples. The kneeling figure in the foreground, the figure of 
the doubting Thomas, and the crowd at the left, are especially fine. The 
impressions are extremely rare. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


736. Peter anp JOHN aT THE BeEautTiruL GATE oF THE TEMPLE. 
Painter-etching. 1659. 

Bartsch. No. 94. 
Second state. VERY BEAUTIFUL PROOF on Japanese paper, 
before the cross hatchings on the arch reaching down to 
the capital of the left column. 
From the John Astley, R. Dighton and Sir Joshua Rey- 
nolds Collections. 


The Dighton Collection was made famous, or rather notorious, owing to the 
fact that it was partly made up of prints which Mr. Dighton stole from the 
British Museum. He was in the habit of going to the Museum to make 
| copies of certain of the valuable prints, but he actually carried away some of 
: the originals themselves in his portfolio. This print, however, does not bear 
the stamp of the Museum, and it is not probable that it was among those 
which he stole. 


REMBRANDT VAN RIJN 


737. Tue Dratu or THE Vircin. Painter-etching. 1639. 
Bartsch. No. 99. 
Second state. A very early impression with the fully 
shaded armchair, which is still full of burr, and before 
the little vertical lines on the bedpost. 


REMBRANDT VAN RIJN 


738. St. Jerome Writinc Near A Portitarp Witiow. Painter- 
etching. 1648. 
Bartsch. No. 108. 
Second state. SupEeRB IMPRESSION OF GREAT BRILLIANCY 
AND FRESHNESS, WITH THE SIGNATURE; on Japanese paper. 
Framed. 


From the Hawkins and J. Charlon Collections. 


REMBRANDT VAN RIJN 
739. Sr. JEROME IN AN Traian Lanpscape. Painter-etching. 
Bartsch. No. 104. 
Second state. SupERB, EARLY IMPRESSION, showing much 
burr, especially on the mane of the lion. In perfect con- 
dition. Framed. 


Pm, | 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 
740. St. Francis BeneatH A TREE, Prayrtnc. Painter-etching. 
1657. ; 
Bartsch. No. 107. 
' Second state. Supers impression from the finished plate, 
on Japanese paper. ExcrEDINGLY RARE. 
From the Hawkins, Earl of Aylesford, Duke of Buccleugh 
and Alfred Hubert Collections. 


All of the grandeur of Rembrandt’s last period is seen in this print. It was 
executed at a time when he had been deserted by public favor, and in fact 


by everybody, except Hendricke Jaghers, his mistress. The plate was evi- 
dently done entirely to please himself and without any consideration for the 


taste of the public. In fact it has never been a favorite except with those 
who have made some study of Rembrandt’s works and possess a little 
insight into the real meaning of his art. 


REMBRANDT VAN RIJN 
741. Tur SpanisH Grpsy (Preciosa). Painter-etching. Assumed 
date, 1641. 
Bartsch. No. 120. 
Only one state known. SvuprERB IMPRESSION, IN PERFECT 
CONDITION. IMPRESSIONS OF THIS PLATE ARE OF THE GREAT- 
EST RARITY AND ARE ONLY FOUND IN THE- MOST COMPLETE 
COLLECTIONS. 


From the Marsden J. Perry Collection. 


REMBRANDT VAN RIJN 


742. Tur Synacocur. Painter-etching. 1648. 
Bartsch. No. 126. 
Intermediate state between the second and third; not men- 
tioned by Rovinski, Seidlitz or Hind. Very FINE IMPREs- 
sion, with an additional set of lines in the shadow on 
the stone in the middle ground, but before the other re- 
touches. 


REMBRANDT VAN RIJN 
743. Cuptp Reposine. Etching. 
Bartsch. No. 182. 
Rejected by most authorities as not being by Rembrandt. 
A VERY FINE IMPRESSION OF A VERY RARE PLATE. 


From the Six and R. v. Seydlitz Collections. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN :RIJN 


744, Brccars at THE Door or a House. Painter-etching. 1648. 
Bartsch. No. 176. 
First state. Supers impression, before the additional 
work on door-post near the nose of the old man giving 
alms. In perfect condition. Framed. 


REMBRANDT VAN RIJN 


745. Beccar Turnep To THE Ricut (“tis vinnich kout’’). 1634. 
—Bercear Turnep to THE Lert (“dats niet”). Paint- 
er-etchings. 1634. 
Bartsch. Nos. 177 and 178. 
Only one state known. VERY FINE AND STRONG IMPRES- 
SIONS. 


From the J. C. D. Hebich and E. Schroeter Collections. 


“These etchings. have been attributed to Solomon Savry, whom a recent 
writer erroneously assumes to have been a pupil of Rembrandt. There is 


nothing in their execution to support this theory; the figures are coarsely 
and carelessly drawn, but, as I have shown before, we need not for that 
reason doubt their authenticity. Their idea was probably borrowed from 
S. Beham, who in 1542 designed and engraved two little plates of a farmer 
and laborer, on one of which is the legend, ‘Es ist kalt Weter,’ and on 
the other, ‘Das schadet nit’; but Rembrandt’s plates are in no sense copies 
of these prints.’—Mmp.eTon. 


REMBRANDT VAN RIJN 


746. Srx’s Brincr. Painter-etching. 1645. 
Bartsch. 208. 
Third state. VERY FINE IMPRESSION, with the hats of both 
men standing on the bridge, shaded. 


From the J. Marsden Perry Collection. 


One of the rarest, and, in spite of its slightness, one of the most beautiful 
of Rembrandt’s landscapes. 

The legend concerning this etching is that when Rembrandt was about to sit 
down at the hospitable board of Burgomaster Jan Six it was found that 
mustard was lacking. The servant was dispatched to buy it, and Rem- 
brandt made—and won—a wager that he would etch a plate before the 


servant could return with the mustard. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 
747. A View or AmstTeRDAM. Painter-etching. Assumed date, 
1640. 


Bartsch. No. 210. 
Second state. BEAUTIFUL IMPRESSION without the hare 


and the upper line of the tower, on paper with the water- 
mark “Folly.” Large margin. 


From the Robert Dumesnil Collection. 


REMBRANDT VAN RIJN 
748. Tue Lanpscare with THE THREE Trees. Painter-etching. 
1643. 


Bartsch. No. 212. 
Only one state. Fryer, EARLY IMPRESSION, RICH AND TRANS- 


PARENT. 


“Ce paysage est un des plus beaux et des plus finis que Rembrandt ait fait; 
il est d’un effet trés brillant, et gravé avec beaucoup de gofit. Les belles 
épreuves en sont trés rares.”—Barrscu. 


REMBRANDT VAN RIJN 
749. ReEvERSED Copy oF THE LANDSCAPE WITH THE Turee TREES. 


Etched by William Lord Byron. 
From the W. H. Daugherty Collection. 


REMBRANDT VAN RIJN 
750. Tue LanpscarE witH THE THREE Corttaces. Painter-etching. 


1650. 


Bartsch. No. 217. 
Third state. SuprerB IMPRESSION IN PERFECT CONDITION. 


EXTREMELY RARE OF THIS QUALITY. 


REMBRANDT VAN RIJN 
751. THe Lanpscarpe with a Ruinep Tower anp A CLEAR Fore- 
GRoUND. Painter-etching. Assumed date, 1650. 
Bartsch. No. 228. 
Third state. Very FINE IMPREssION with a considerable 
amount of tone left on the plate, emphasizing the dark 


Fourth Session, Tuesday Evening, April 13th 


[| No. 751—Continued | 
and stormy effect on the landscape. THis Is UNDOUBTED- 
LY ONE OF THE FINEST. IMRESSIONS IN EXISTENCE. Framed. 


From the J. Kollmann Collection. 


“Ce qui est certain, c’est que le Paysage a la tour est un des plus beaux 
de Voeuvre.”—Cuarirs Banc. 

“The print, which, for well-considered breadth and maintained unity of 
effect (not so much for dainty finish), is the ‘last word’ of landscape art, 
the perfect splendid phrase which nothing can appropriately follow, after 
which there is of necessity declension—if not collapse.”—FreEpErick Wep- 
MORE. 


REMBRANDT VAN RIJN 


752. Aw Arcuep Lanpscare with a Frock or SuHrep. Painter- 
etching. 1650. 
Bartsch. No. 224. 
Second state. VERY FINE ImpPREssION with the distant 
horizon added behind the two figures on the left. 


: REMBRANDT VAN RIJN 


753. Tuer LanpscaPE witH a CorracGrE anp Haystack. Painter- 
etching. 1641. 
Bartsch. No. 225. 
Only one state known. AN IMPRESSION OF THE HIGHEST 
ORDER. Framed. 


REMBRANDT VAN RIJN 


754. A Larce LanpscaPreE with A Mirr-satL SEEN ABOVE A Cor- 
TacE. Painter-etching. 1641. 
Bartsch. No. 226. 


Only one state known. VERY FINE IMPRESSION. 


From the H. D. Seymour Collection. 
“|. makes a most poetical picture, as if by magic, out of an old, low 
cottage and a lime tree, a stream gliding silently between its flat banks 


among the meadows, the sails of a few windmills visible in the distance 
and a town on the verge of the low horizon.”—H. Kwacxruss. 


REMBRANDT VAN RIJN 


755. ReMBRANDT’S Mitt Painter-etching. 1641. 
Bartsch. No. 288. 


Only one state known. SuprerB EARLY ImMPREsSION, before 


Fourth Session, Tuesday Evening, April 13th 


[| No. 755—Continued | 
any of the effect obtained in the sky by the use of sulphur 
was lost. 


“Here we see nothing but a windmill, a few houses, and a perfectly flat 
horizon; but what a refined and indescribable charm—the secret of true 
art which defies analysis—lies in the sincerity with which this scene is 
rendered.”—KNACKFUSS.. 


REMBRANDT VAN RIJN 


756. THe GoLpWEIGHER’s Fietp. Painter-etching. 1651. 
Bartsch. No. 234. 
Only one state known. SUPERB IMPRESSION WITH SOME 
BURR. ‘THIS PLATE IS UNIVERSLLY ADMITTED TO BE AMONG 
THE THREE OR FOUR OF REMBRANDT’S GREATEST LAND- 
SCAPES. 


From the La Motte-Fouquet and an unidentified collection. 
Fagan. No. 254. 
“The landscape known as the Goldweigher’s Field is one of the best exam- 
ples of the way in which the master could work in true nineteenth century 
spirit. It is full of the feeling of the air and space and is handled in a 
broad, free style that would be remarkable even in the greatest of nine- 
teenth century artists."-—ATHERTON CorRTIS. 


REMBRANDT VAN RIJN 


757. Otp Man Seatrep, wiruH A Fiowine Brarp, Fur Cap anp 
VELVET Cioak. Painter-etching. Assumed date, 1632. 
Bartsch. No. 262. 
Second state. VERY FINE IMPRESSION BEFORE THE RE- 
TOUCH. 


From the Chevalier de Cloussin Collection. 


“... but what a beautiful portrait! What an astounding representation 
of an old man!”’—Cuartes Brianc. 


REMBRANDT VAN RIJN 


758. Oty Man witrn a Divivep Fur Cap. Painter-etching. 1640. 
Bartsch. No. 265. 
First state (of 3). Very FINE impression before the 
shipped burin stroke near the left eye. 


(3 
e 


. work of great dignity and beauty, but not likely to be popular, from 
the absence of vigorous blacks. It is, however, admirably drawn, and though 
the distinctions of tone and local color are slight, this etching is one of the 
most brilliant that Rembrandt ever executed, and perfectly harmonious in 
its own key.”—P. G. Hamerron. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


759. Youne Man Musine. Painter-etching. 
Bartsch. No. 268. 
Second state. Fine impression with the cheek cleared. 


REMBRANDT VAN RIJN 


760. Doctor Fausrus. Painter-etching. Assumed date, 1652. 
Bartsch. No: 270. 
First state. Supers impression before the additional 
shading on the book at the right and before much roulette 
work on the drapery and garment. On the curious gray 
paper which Rembrandt sometimes used for his plate of 
St. Jerome in an Italian Landscape. Framed. 


From the Hawkins Collection. 


REMBRANDT VAN RIJN 


761. Portrait or Corneuis Crarsz Ansto, MENNONITE PREACHER. 
Painter-etching. 1641. 
Bartsch. ; No. 271. 
Second state. VERY FINE IMPRESSION, the white strip at 
the bottom of the plate was worked over. 


From the Chevalier J. de Franck, Nahl and W. S. Carter 


Collections. 
“Ce portrait est un des plus beaux et des plus finis que nous ayons de la 
pointe de Rembrandt. Ce morceau est rare.”—Bartscu. 


REMBRANDT VAN RIJN 


762. Portrrair oF CLEMENT DE JONGHE, PRINT-SELLER. Painter- 
etching. 1651. 
Bartsch. No. 272. 

First state. Suprers impression before the arch and be- 

fore some work on the outer fold of the cloak. ONE oF 

THE MOST BEAUTIFUL AND MOST FAMOUS PORTRAITS BY THE 


MASTER. 

“Nothing in all the great etched work of Rembrandt is in craftsmanship 
more unobtrusively magnificent, and in its suggestion of complex character 
nothing is more subtle.”—FrReperick WEDMORE. 

“As to the portraits of Clement De Jonghe which Rembrandt etched, one 
has no need to remark how fortunate is the arrangement or how beautiful 
the effect, how imposing the pensive expression of this personage whom 
one would so little suspect of being a merchant occupied with the prosaic 
details of his business and to whom Rembrandt—who always idealized 
nature according to his own ideas—has been able to give, as in the case 
of the Young Haaring, an air of revery so profound and the austere mel- 
ancholy of a philosopher in meditation.”—Cuartires Branc. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


763. Porrrair or Jacosp Haarine (The “Old Haanmge)- Painter- 
etching. Assumed date, 1655. 
Bartsch. No. 274. 
Second state. VERY FINE IMPRESSION with the added _ pil- 
lar in the centre of the window on outside. In perfect 
condition. 


From the Edward Utterson Collection. 


THIS PORTRAIT, AS WELL AS BEING ONE OF THE MOST BEAUTIFUL OF Rem- 
BRANDT, IS, AT THE SAME TIME, OF THE UTMOST SCARCITY. Ir IS RARELY FOUND 
OUTSIDE OF THE GREAT PUBLIC COLLECTIONS. 


REMBRANDT VAN RIJN 


764. Porrrarr or JAN Lutrma, THE Exper. Goldsmith at Gron- 
ingen. Painter-etching. 1656. 
Bartsch. No. 276. 
First state. SUPERB PROOF BEFORE THE WINDOW AND THE 
SIGNATURE. PRINTED ON PARCHMENT AND EXCESSIVELY 
RARE. Framed. 


From the John Webster and W. L. A. Dillaway Collec- 


tions. 
“C’est un des plus beaux que Rembrandt ait roe Le caractére de la 
téte y est rendu principalement avec tout lesprit imaginable.” 


REMBRANDT VAN RIJN 


765. Porrrair or JAN AssELYN, THE ParnteEr, (Nicknamed “Crab- 
betje”). Painter-etching. Assumed date, 1674. 
Bartsehs =No,-2 (a. 
Third state. Very FINE Impression with the background 
completely cleaned and the portrait retouched. 


REMBRANDT VAN RIJN 


766. Portrait oF Eruraim Bonus, JEwisH Puysictan. Painter- 
etching. 1647. 
Bartsch. No. 278. 
Second state. AN IMPRESSION OF THE FINEST QUALITY. 
with the burr removed from the ring; in perfect condi- 
tion. Framed. 


From the La Motte-Fouquet, A. Alferoff, Dr. Strater and. 
Marsden J. Ferry Collections. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


767. Portrait or JAN Uytenpocarrt, PREACHER OF THE SECT OF 
THE ARMINIAN Remonstrants. Painter-etching. 1635. 
Bartsch. No. 279. 
Sixth state. SitEenpip mprRession after the two irregular 
corners of the octagon had been made even, but before the 
crude retouches on the curtain at the right. With a col- 
lector’s mark “Anchor” in dry stamping, not mentioned by 
Fagan. 


REMBRANDT VAN RIJN_ 


768. PorTRAIT oF JAN CorNELIS Sytvivus, Preacuine. Painter- 
etching. 1634. 
Bartsch. No. 280. 
Second state. SupERB Impression after the big scratch 
in the right upper margin had been burnished out. In 
perfect condition. 


From the L. Galichon and A. Artaria Collections. 


“This is one of Rembrandt’s best portraits. It is very scarce, especially a 
good impression of it; as the etching being tender, many could not be 
taken off before the plate was worn.”’—Wr1son. 

“The following is a translation of the Latin inscription in the lower 
margin: This was the face of Sylvius, whose eloquence taught that Christ 
should be adored and showed to men the true path to Heaven. With these 
lips we heard him speak to the people of Amsterdam, with these he 
preached to the Frisians. Piety and religion were long safe in the keeping 
of an unyielding champion. Brightly shone the light of his life, revered 
for its virtues, and even in the infirmities of age he taught strong men. 
“A lover of sincerity, he disdained all mere pretense of right nor cared 
by a fair front alone to please the good. This was his belief, that Jesus 
could be better preached by a nobler life, less well by thunders of elo- 
quence. Amsterdam, cherish the memory of him who by his character set 
the standard for the city’s life and maintained it by help of God Himself.” 
—C, Bariaevs. 

“No further do I praise his merits which I fain would imitate, but seek 
to present in verse.—P. S. 


REMBRANDT VAN RIJN 


769. Porrrair or Jan UyTEnsBoGaERT, RECEIVER-GENERAL (usu- 
ally called “The Gold-Weigher”). Painter-etching. 
1639. 
Bartsch. No. 281. 
Second state (of 4). SUPERB IMPRESSION BEFORE THE RE- 
roucH BY Caprain WitiiAm Batiire. Framed. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


770. Porrrarr or LirveEN Wit.LEemMsz vAN CoppENnoL, WRITING- 
Master. The larger plate. Painter-etching. Assumed 
date, 1658. = 

Bartsch. No. 283. 5 
Fifth state. Very FINE Impression of the state before 
the plate was cut down. On paper with the watermark — 
“Folly.””. This is one of Rembrandt’s latest plates and 
the impression is accompanied by an original autograph 
of the sitter. 


From King Ferdinand of Portugal, Herman Weber and 
H. S. Theobald Collections. 


REMBRANDT VAN RIJN 


771. Porrratr or Jan Six (Burgomaster Six). Painter-etching. 
1647. 
Bartsch. No. 285. 
Third state. Frye anp HARMONIOUS IMPRESSION with the 
name and age of the personage in the lower margin. 
Kramedso5 
“The portrait of Jan Six is unquestionably Rembrandt’s masterpiece in the 
way of highly finished shading, and was evidently executed with the inten- 


tion of carrying his art, for once, as far as was possible for him in that 
special direction.”—P. G. Hamerron. 


REMBRANDT VAN RIJN 


772. A BearpEpD Man Wearine Aa VetvetT Cap witH A JEWEL 
Criasp. Painter-etching. 1637. 
Bartsch. No. 313. 
Only one state admitted lately. ExcrEpINGLY FINE IM- 
FRESSION. “5 


From the J. Reiss and Marsden J. Perry Collections. 


REMBRANDT VAN RIJN 


773. Rempranpt’s MotrHer Seatrep at A Taspue, TurRNED TO THE 
Ricut. Painter-etching. Assumed date 1681. | 
Bartsch. No. 3438. 
Second state. SupPEeRB AND BRILLIANT IMPRESSION before 
the removal of the black spot near the tip of the nose. 


From the Baron Von Lanna Collection. 


“Sa téte, qui est vue de trois quarts, est extémement fine et porte le carac- 
tere d’une femme trés-agée.”—Cn. BLanc. 


; 
: 
' 
. 


Fourth Session, Tuesday Evening, April 13th 


REMBRANDT VAN RIJN 


774, An Oty Woman Steepinc. Painter-etching. Assumed date 
between 1635 and 16387. 
Bartsch. No. 350. 
Only one state known. ExcrEDINGLY FINE IMPRESSION. 


REMBRANDT VAN RIJN 


775. TuHree Heaps or Women. Painter-etching. Assumed date 
1637. 
Bartsch. No. 367. 
One lightly etched. Second state. Very FINE IMPRESSION ~ 
WITH THE THREE HEADS. 


All three studies are probably portraits of Saskia. The upper head is 
perhaps the most beautiful etching of his wife that the master has left us. 


SAMUEL WILLIAM REYNOLDS 


Born in England, 1773; died at Bayswater, 1835. Pupil of C. H. Hodges. 
REYNOLDS, SAMUEL WILLIAM 


776. Mrs. ArputTHNot. :Mezzotint. 
A. Whitman. No. 11. 
After John Hoppner. First state. VERy FINE IMPRES- 
sion with the name of the personage and with the word 
“Proof.” Marcia Mary Anne Arbuthnot, first wife of 
the Right Hon. Charles Arbuthnot, M. P., and diplomat. 


REYNOLDS, SAMUEL WILLIAM 


777. Georciana (Gorpon), Ducuess or BEeprorp. Mezzotint. 
A. Whitman. No. 21. 
After John Hoppner. Third state. Fifth daughter of 
Alexander, fourth Duke of Gordon; married in 1803, as 
his second wife, John Russell, sixth Duke of Bedford; 
died 1853. 


REYNOLDS, SAMUEL WILLIAM 


778. Cuartes James Fox. Mezzotint. 
A. Whitman. No. 92. 
‘After John Opie. Second state. Open letter proof. VEry 
FINE IMPRESSION IN. PERFECT CONDITION and with ample 
margin. - Framed. 


From the W. S. Carter Collection. 


Fourth Session, Tuesday Evening, April 13th 


REYNOLDS, SAMUEL WILLIAM 
779. FisHERMEN Goine Our. Mezzotint. 1805. 
A. Whitman. . No. 400. 


After George Morland. Proof before all letters not men- 
~ tioned by Whitman. VERY FINE. 


ANTONIO RICCIANI 


Born in Rome, 1775; died —. 
_ RICCIANI, ANTONIO 


780. Tur Deatru or Priamus at THE Taxtne oF Troy. 
engraving. 
Apell, p. 858. No. 12. 
After P. Benvenuti. First state. Proof before all letters, 
with the engraver’s name only. Very parE. Framed. 


Line- — 


JOSEPH THEODORE RICHOMME 


Born in Paris, 1785; died there, 1849. Pupil of Regnault and Coiny. 
RICHOMME, JOSEPH THEODORE 


781. TRiumpH oF GALATHEA. 
Apell, p. 359. No. 9. 
After Raphael. Second state. 
the engraver’s stamp. Framed. 
Companion to No. 782. 


Line-engraving. 


Open letter proof, with | 


RICHOMME, JOSEPH THEODORE 


782. Tuertis Carrying THE New Armure TO ACHILLES. 
engraving. 
Apell, p. 359. No. 10. . 
After F. Gérard. Second state. 
the engraver’s stamp. Framed. 
Companion to No. 781. 


Line- 


Open letter proof, with 


RICHOMME, JOSEPH THEODORE 
783. NEPruNE AND AMPHITRITE. 
Apell, p. 359. No. 11. 


After Giulio Romano. First state. Proof with the art- 
ists’ names only. Framed. 


Line-engraving. 


Fourth Session, Tuesday Evening, April 13th 


CHRISTOFANO ROBETTA 


Born in Florence, 1463, and worked until 1522. “Vasari, who has given a 
long chapter to engravers by profession, does not mention Robetta. He 
seems to have considered this artist a mere goldsmith. Whatever may be 
the cause of this forgetfulness—and it is of little consequence, the plates 
being more eloquent than the best authenticated descriptions—we must 
assert that the prints signed with his name merit special attention. Drawn 
with unerring beauty and elegance, and engraved with a boldness and ease 
rare amongst the early Italians, they may sometimes be marred by timidity 
and inexperience, never by want of taste nor incorrectness of design.”— 
DUvPLeEssis. 


ROBETTA, CHRISTOFANO 


784. ‘THE AporATION oF THE Mac. Painter-engraving. 
Bartsch, XII. No. 6. 
A very fine and strong impression; evidently a contem- 
porary print. The plate of this engraving is still pre- 
served in the British Museum. It has been printed often 
in later periods and modern impressions are of frequent 
occurrence. On the reverse of the plate is the engraving 


for the Allegory of the Power of Love. 
ROBETTA, CHRISTOFANO 


785. AtitEecory or THE Power oF Love. Painter-engraving. 
Bartsch, XIII. No. 25. 
Fine early impression and extremely rare. This design 
is engraved on the reverse of the plate, The Adoration of 
the Magi. Bartsch. No. 6. 


ANTOINE LOUIS ROMANET 


1748—? 
ROMANET, ANTOINE LOUIS 
786. Le Barn. Line-engraving. 
Portalis and Beraldi, III, p. 412. No. 2. 


After S. Freudeberg. Proof before the title. Very FINE 
IMPRESSION, but cut close. Rare. 


JOHANN HEINRICH ROOS 


Born at Otterdorf (Palatinat), 1631; died in Frankfurt a 
ROOS, JOHANN HEINRICH 


"87. SHEPHERD AND Frock Resrine. Painter-etching. 
Bartsch. 38. 


Second state. Fine impression. Framed. 


M, 1685. 


Fourth Session, Tuesday Evening, April. 13th 


FRANCESCO ROSASPINA 


Born at Monte Scudolo, near Rimini, 1762; died in Bologna, 1842. Disciple = 
of Morate and Morghen. : i 


ROSASPINA, FRANCESCO 


788. Tur Dance or Curips (also called the a of ee _ 
Line-engraving. 


Apell, p. 366. No. 12. 


After F. Albano. First state. BrAuTIFUL PROOF BEFORE a 


ALL LETTERS AND THE BORDER. Framed. 


= 


NICOLETTO ROSEX (ROSSI or ROSA) 
(Called Da Modena) 


“Flourished at Modena (?) about 1490-1511. Italian engraver and gold- 
smith of the 16th century, born in Modena. In his early works he came 
under the influence of Mantegna’s style. . . . He developed about the 
same time (1500) a style of composition quite his own, among engravers of — 
the time, nearly always surrounding his saint or allegorical figure in a fan- 
tastic setting of classical ruin.”—-Hrnp. 


ROSEX, (ROSSI or ROSA), NICOLETTO 


789. Patias. Painter-engraving. 
Bartsch, XVIII. No. 48. 


Very rare. 


From the Earl of Cholmondeley’s Collection. 


PETER PAUL RUBENS 


Born in Antwerp, 1577; died, 1640. 


RUBENS, PETER PAUL 


790. Sv. CaruErtne. Painter-etching. 
Dutuit;-V..- Nowelo. 
Third state. VERY FINE IMPRESSION AND EXTREMELY RARE. 


“A few etchings are attributed to Rubens himself—three with some show 
of reason. . . . ‘St. Catherine in the Clouds,’ ‘An Old Woman and a 
Boy with Candles, and a bust of Seneca. The first, which is the most 
powerful work of the three, is signed in its second state, ‘P. Paul Rubens 
fecit.’ In composition it corresponds to one of the ceiling paintings done 
by Rubens for the Jesuits’ church of Antwerp in 1620.”’—Huxyp. 


Fourth Session, Tuesday Evening, April. 13th 


JACOB RUYSDAEL 


Born, 1628(29); died, 1682. 
RUYSDAEL, JACOB 
791. Les Voracrurs. Painter-etching. 


Dutuit. No. 4. 
FINE impression. Duplicate from the British Museum. 


THOMAS RYDER anp J. L. COSSE 
Born, 1746; died, 1810. 
RYDER, THOMAS, and COSSE, J. L. 


792. GEnius oF Moprsty Preventinc Love Unveruine Beauty. 
Stipple. 
After G. B. Cipriani. VerRyY FINE IMPRESSION WITH THE 
TITLE, printed in brown. Framed. 


WILLIAM WYNNE RYLAND 


~ Born in London, 1732; died there, 1783. Pupil of Ravenet, Boucher and 
LeBas. 


RYLAND, WILLIAM WYNNE 


793. Curip Tiep To a TREE BY THE Graces. Stipple. 
After A. Kauffmann. VERY FINE IMPRESSION IN RED. Cir- 
cular. Framed. 


RYLAND, WILLIAM WYNNE 


794, TrLemacnus in AuLA SparTana (Telemachus at the Court of 
Sparta)—Trtemacuus Repux a PENELOPE (Telema- 
chus Brought Back to Penelope). Stipples. 

Both after Angelica Kauffmann. BriLuiaNT IMPRESSIONS 
in red, perfect in condition. Framed. (2) 


RYLAND, WILLIAM WYNNE 
795. Tur JupGMEnT oF Paris. Stipple. 


After Angelica Kauffmann. FINE IMPRESSION WITH THE 
INSCRIPTION, printed in black. Circular. Framed. 


RYLAND, WILLIAM WYNNE 


796. Sueepinec VENus. Stipple. 
After Angelica Kauffmann. Fine proof below letters 
printed in red. Circular. Framed. 


Fourth Session, Tuesday Hvening, April 13th 


RYLAND, WILLIAM WYNNE 


797. Venus Presenrinc Heten ro Paris—Tue Fricut or HELen — 
AND Paris. Stipples. 7 or 

Both after Angelica Kauffmann. SupERB IMPRESSIONS in ~ 

red, with full margin and in perfect condition. (2) % 


These two prints are mentioned in Bryan’s “Dictionary of Painters and En- 
gravers” as being among the artist’s best work. 


H. SACHS 
Pupil of E. Mandel. 
SACHS, H. 


798. Ixy per Dammerunc. Line-engraving. 1869. 
Apell, p..371:- No. 6; 
After Spangenberg. First state. Artist’s proof on India 
paper. Framed. 


HERMAN SAFTLEVEN 


Born in Rotterdam, 1609; died in Utrecht, 1685. 
SAFTLEVEN, HERMAN 
799. LanpscarEe witH Aa Bic Tree. Painter-etching. 
Bartsch, I. No. 28. 


VERY FINE IMPRESSION IN PERFECT conpITION. Works by 
this etcher very rarely find their way into the market. 


NATALE SCHIAVONE 


Born at Chiozza, 1777; died in Venice, 1858. Pupil of R. Morghen. 
SCHIAVONE, NATALE 


800. THe Assumption or THE Vircin. Line-engraving. 
Apell, p. 377. No. 2. 
After Titian. The painting formerly in the Church of 
Santa Maria Gloriosa dei Frari, and now in the Gallery of 
the Academy of Venice. First state. Proof before all let- 
ters and before the coat-of-arms. SUPERB IMPRESSION IN 
PERFECT CONDITION and ample margins. . Framed. 


From the W. S. Carter Collection. 


Fourth Session, Tuesday Evening, April 13th 


LUIGI SCHIAVONETTI 


Born at Bassano, 1765; died in London, 1810. Pupil of Volpats and Bar- 
tolozzi. 


SCHIAVONETTI, LUIGI 


801. THe Canrersury Pitrertmacr (Chaucer’s Canterbury Pil- 
grims). Line-engraving. 
Andresen, II, p. 452. No. 12. 
After Thomas Stothard. Finished by J. Heath after the 
engraver’s death. Fine open letter proof with one line 
of the inscription. Framed. 


GEORG FRIEDRICH SCHMIDT 


Berlin, 1712-1775. “Schmidt was the son of a poor weaver, and lost six 
precious years as a soldier in the artillery at Berlin. Owing to the small- 
ness of his size he was at length dismissed, when he surrendered to a nat- 
ural talent for engraving. Arriving at Strasburg, on his way to Paris, he 
fell in with Wille, a wandering gunsmith, who joined him in his journey, 
and eventually in his studies. ‘The productions of Schmidt show ability, 
originality, and variety rather than taste. His numerous portraits are 
excellent, being free and lifelike, while the accessories of embroidery and 
drapery are rendered with effect. As an etcher he ranks next after Rem- 
brandt.”—SumMwne_r. 


SCHMIDT, GEORG FRIEDRICH 


802. Porrrair or Himsetr “witH THE SPIDER.” Painter-etching. 
Jacoby. No. 141. 
Very fine, early impression before the additional shading 
near the thermometer. 


From the E. Schraeter Collection. 


J. F. SCHMIDT 


SCHMIDT, J. F. 
803. Portrair or Maurice QuenTIN DE LA Tour. (The small 
plate.) Line-engraving. 1772. 
Jacoby. No. 89. 


Second state. SUPERB IMPRESSION WITH THE INSCRIPTION. 


Fourth Session, Tuesday Evening, April 13th’ 


JAKOB MATTHIAS SCHMUTZER 


Born in Vienna, 1733; died mere 1811. He studied for a time in Paris un- — 
der Wille’s direction. i 5 


SCHMUTZER, JAKOB MATTHIAS 


804. Sr. Amprose Rerustne Emperor THEoposIus ADMITTANCE TO _ 
THE CuurcH. Line-engraving. 7 | 4 
Apell, p. 879. No. 5. 7 : 
After P. P. Rubens. Second state. Proof before letters — 
with the pillars. VERY FINE. | 
From the Burleigh James Collection. 


MARTIN SCHGiNGAUER 


Born at Ulm, about 1445; died at Colmar, 1491. He first studied with his 
father, who was a goldsmith, and afterward seems to have visited ‘Flanders, 
where he studied under Roger Van der Weyden.. 


SCHCGENGAUER, MARTIN 


805. THe ANGEL oF THE ANNUNCIATION. Painter-engraving. 
Bartsch, VI. No. 1. | 
Very fine 1 impression on paper with the watermark “Fleur- 
de-lys.”” A tear in the lower part cat repaired. 
Companion to No. 806. 


From the Prince de Paar and Alfred Move dolce 


This impression shows the fine lines in the face and hands which give such 
peculiar delicacy to the finest impressions of Schoengauer’s prints. It is only | 
in impressions of this class that Schoengauer’s peculiarly subtle modelling 
can be really appreciated. It is by the simplest possible technic that he at- 
tained the wonderful purity and delicacy of effect for which his prints have 
always been famous, and these qualities can only be appreciated in the 
earliest impressions. 


SCHGENGAUER, MARTIN 


806. THE VirciIn or THE ANNUNCIATION. Painter-engraving. 
Bartsch, VI. No. 2. 
BEAUTIFUL RICH IMPRESSION IN PERFECT CONDITION. Of 
almost all the early German engravers’ work, Schon- 
gauer’s are the most difficult to obtain in fine impres- 
sions. 


Companion to No. 805. 
From the P. Gellatly Collection. 


Fourth Session, Tuesday Evening, April 18th 


SCHGENGAUER, MARTIN 


807. Tue Annunciation. Painter-engraving. 
Bartsch, VI. No. 3. 


SUPERB IMPRESSION AND OF THE GREATEST RARITY. 


SCHGNGAUER, MARTIN 


808. Tue Nativiry. Painter-engraving. 
Bartsch, VI. No. 4. 
EXTREMELY FINE IMPRESSION AND OF THE GREATEST RARITY. 
Framed. 


SCHCGENGAUER, MARTIN 
809. THE Passion oF Curist. Painter-engraving. 
. Bartsch, VI. Nos. 9-20. 
A COMPLETE SET, ALL EQUALLY SUPERB IMPRESSIONS. Sin- 
gle impressions are very rarely found in such quality. 
AN ENTIRE SET CAN HARDLY BE DUPLICATED. 


From the Prince Alexander Lobanow Rostowsky Collec- 
tion. (12) 


SCHGNGAUER, MARTIN 
810. Curist Carryinc THE Cross (the large plate). Painter- 
engraving. 
Bartsch, VI. No. 21. 
FINE IMPRESSION OF AN EXTREMELY RARE PLATE. Repaired 
on the left margin and two tears cleverly mended. Framed. 


SCHCGENGAUER, MARTIN 
811. Tur Crucirrxion. Painter-engraving. 
Bartsch, VI. No. 25. 
From the R. Scholtz Collection. 


SCHCGENGAUER, MARTIN 3 
812. Tue Vireww anp Cur~p with A Parrot. Painter-engraving. 
Bartsch, VI." No. 29. 
FINE IMPRESSION. 
From the Von Nagler Collection; also Duplicate from the 
Berlin Museum. 


Fourth Session, Tuesday Evening, Apri 13th 


SCHG:NGAUER, MARTIN 


813. THe Vircin SEATED IN A Court-yarp.. Painter-engraving. 
Bartsch, VI. No. 82. _ 
SUPERB IMPRESSION AND OF GREAT RARITY. 


From the Count G. Archinto Collection. 


SCHCGENGAUER, MARTIN 


814. Tue Dearn or THE Viren. Painter-engraving. 
Bartsch, VI. No. 33. | 
SUPERR IMPRESSION OF ONE OF THE FINEST WORKS OF THE 
master. With the unknown collector’s mark “J. G.?  — 


(Perhaps J. Gerbeau.) Framed. 


SCHGENGAUER, MARTIN 


815. Curisr Aprrartnc to Macpaen. Painter-engraving. 
Bartsch, VI. No. 36. 


FINE IMPRESSION. 


Duplicate from the Berlin Museum. 


SCHCENGAUER, MARTIN 


816. Tempration or St. ANrHoNy. Painter-engraving. 
Bartsch, VI. No. 47. 
A SUPERB, SILVERY IMPRESSION, IN PERFECT CONDITION. 
EXTREMELY RARE. 


From the Count G. Archinto and G. D. de Arozarena Col- 
lections. 


SCHCENGAUER, MARTIN 


817. Sr. George Kinuinc rHE Dracon. Painter-engraving. 
Bartsch, VI. No. 50. 
This delightful little print is one of the rarest and most 
charming of Schcengauer’s works. ‘THE PRESENT IMPRES- 
SION IS WONDERFULLY FRESH AND BRILLIANT. 


SCHCENGAUER, MARTIN 


818. St. James THE GREATER DEFEATING THE SaRAcENS. Painter- 
engraving. 
Bartsch, B. VI. No. 53. 
FINE IMPRESSION AND EXTREMELY RARE, particularly in 
such excellent state of preservation. Considering that 
public collections, such as the British Museum and the 


Fourth Session, Tuesday Evening, April 13th 


[| No. 818—Continued | 


Berlin Museum are compelled to take many of Scheen- 
gauer’s prints torn across or lacking in height or breadth, 
the value of a perfect impression of this size may be bet- 
ter appreciated. Framed. 


From the A.'Morrison Collection. 


SCHCGNGAUER, MARTIN 


819. Sr. Martin Divipixe His Croax. Painter-engraving. 
Bartsch, VI. No. 57. 


SUPERB IMPRESSION AND OF THE GREATEST RARITY. 


SCHCGENGAUER, MARTIN 


820. Gop true FATHER AND THE Vircrn Mary SEATED ON A THRONE. 
Painter-engraving. 
Bartsceh,-VI. -No. 71. 


FINE OLD IMPRESSION AND EXTREMELY RARE. 


Duplicate from the British Museum. 


SCHCGENGAUER, MARTIN 
821. CoatT-oF-arMs, WITH A Woman Noursine a Cuiup. Painter- 
engraving. 
Bartsch, VI. No. 100. 


A CURIOUS AND RARE PRINT. 


SCHGENGAUER, MARTIN 
822. Coat-or-arms, with A Witp Man (Family von Baldinger). 
Painter-engraving. 
Bartsch, VI. No.:‘108. 


FINE AND VERY RARE. 


From the W. Esdaile, R. Balmanno, Dr. Strater and Von 
Baldinger Collections. 


SCHCGENGAUER, MARTIN 


823. Coat-or-arRMs, wiTH A Witp Man. Painter-engraving. 
Bartsch, VI. No. 105. 


VERY FINE AND RARE. 


Fourth Session, Tuesday Evening, April 13th 


SCHCGNGAUER, MARTIN 


824. Incensr Burner. Painter-engraving. 
Bartsch, VI. No. 107. 
SUPERB IMPRESSION on paper with the watermark “High 
Crown.” ONE OF THE FINEST SPECIMENS OF ORNAMENTAL 
WORK WHICH HAS PROBABLY NEVER BEEN SURPASSED. 


GABRIEL SCORODOMOFF 


Born, 1748; died, 1792. Pupil of Bartolozzi. 
SCORODOMOFF, GABRIEL 


825. Cupip anp Nympus. Circular. Stipple. 
After Angelica Kauffmann. BritLiIANT PROOF BEFORE ALL 
LETTERS in red, with small margin. 


SCORODOMOFF, GABRIEL 


826. TrrumeH or Beauty. Circular. Stipple. 
VERY FINE PROOF BEFORE ALL LETTERS, printed in red. 
Framed. 


ADAMO SCULPTOR 


(Also known as Ghisi) 


Flourished in Mantua about 1566-1580. Supposed to have been a son of. 
Giovanni Battista Sculptor. ; 


SCULPTOR, ADAMO 


827. THREE Cupips. Engraving. 
Bartsch, XV. No. 23. 
After Giulio Romano. 


“This is the best print which was engraved by Adam Ghisi, if indeed it be 
by him, which might be contested.”—Barrscu. 

Bartsch followed the older cataloguers in giving the name of Ghisi to the 
whole of the Sculptor family. 


f 


DIANA SCULPTOR 
(Also known as Ghisi) 


Born at Manian, about 1535; died about 1587. Supposed to have been a 
daughter of Giovanni Battista Sculptor. 


SCULPTOR, DIANA 
828. ‘THe Birrn or Aroito anp Diana. Engraving. 
Bartsch, XV. No. 89. 
After Giulio Romano. First state. Before “Horatius 
Pacificus Formis” was added on the plate. Framed. 


“The dates on her sixty plates range from 1581 to 1588. About 1579 she 
married the architect and sculptor, Francesco Ricciarelli.”—Bryan. 


Fourth Session, Tuesday Evening, April 13th 


SCULPTOR, DIANA 


829. A SacriricE To JupirerR. Engraving. 
‘ Bartsch, XV. No. 40. ) 
After Giulio Romano. First state. Early impression, 
before the address: “Horatius Pacificus Formis.”’ 


From the Robert Dumesnil and A. Morrison Collections. 


GIOVANNI BATTISTA SCULPTOR 
(Also known as Ghisi) 


Born at Mantua, 1503; died there, 1575. “He was an architect, painter and 
engraver, and a disciple of Giulio Romano and Marcantonio. After the 
death of the former he became architect-in-chief to the Duke of Mantua. 
He engraved about twenty plates, the dates on which range from 1535 to 
1540. In technique they are dry, deficient in half tones, but good in 
drawing. He used to be considered the head of the Ghisi family, but later 
researches proved that his name was really Sculptor.”—Bryan. 


SCULPTOR, GIOVANNI BATTISTA 


830. Hercutes Surrocatine AntaEus. Engraving. 
Bartsch, XV. No. 12. 


After Giulio Romano. Early impression. 


From the Sir Thomas Lawrence Collection and also a 
duplicate from the Kunsthalle Bremen. 


\ 


WILLIAM SHARP 


Born in London, 1749; died there, 1824. Pupil of B. West and F. Bar- 
tolozzi. “This engraver may claim kindred with the best. His first essays 
were the embellishment of pewter pots, from which he ascended to the 
heights of art, showing a power rarely equalled. Without any instance of 
peculiar beauty, his works are constant in character and expression, with 
every possible excellence of execution; face, form, drapery—all are as in 
nature.”—CHARLES SUMNER. 


SHARP, WILLIAM 


831. Tuer Docrors or THE CHurRcH. Laine-engraving. 
Apell, p. 393. No. 6. 
After Guido Reni. Second state. Proof before letters, 
with the coat-of-arms and with the device on the ribbon. 
Very FINE. Framed. 
“This picture, painted in Guido’s early and most powerful manner, was 
eminently suited to the innate vigor of the engraver, and his translation of 


it is a work of art in its truest sense. Every part of it is managed with 
the most. consummate skill, and in the finest keeping; the drapery well and 


Fourth Session, Tuesday Evening, April 13th 


[ No. 831—Continued | 


nobly arranged, the deep thought and character of each head admirably — 
rendered, the anatomy most carefully developed, and the drawing perfect; 

a profound sense of meditation pervades the whole, well fitting the character 
of the scene. Sharp considered it his best work.”—W. S. Baxer. 


SHARP, WILLIAM 
8382. Sr. Ceciz1a. Line-engraving. 1790. 
Apell, p. 8938. No. 7. “a 
After Domenichino. Second state. Proof before all let- 
ters, but with the border. Framed. 


From the Wm. H. Daugherty Collection. 


SHARP, WILLIAM 


833. Porrrair or Dr. Jonn Hunter, Anatomist. Line-engraving. 
Apell, p. 396. No. 88. 

After Sir Joshua Reynolds. Very fine and rare. Framed. 

“It is of portraits especially that I write, and here Sharp is truly eminent. 

All that he did was well done; but two were models; that of Mr. Boulton, 

a strong, well-developed country gentleman, admirably executed, and of 

John Hunter, the eminent surgeon, after the painting by Sir Joshua Rey- 
nolds, in the London College of Surgeons, unquestionably the foremost 
portrait in English art, and the coequal companion of the great portraits in 


the past; but here the engraver united his rare gifts with those of the 
painter.”—Cuartes SUMNER. 


JOHN KEYSE SHERWIN 
| Born, 1751 (?); died, 1790. 
SHERWIN, JOHN KEYSE 


834. Roxatana.(Mrs. Abington). Stipple. 


After Sir Joshua Reynolds. FINE ImpREssION IN BLACK 
INK AND IN PERFECT CONDITION. 


SHERWIN, JOHN KEYSE 


835. A Tae or Love. Stipple. 


After Sir Henry Bunbury. Very nicely printed in colors, 


well preserved and with enough margin to show the plate- 
mark. Framed. 


Fourth Session, Tuesday Evening, April 13th 


WILLIAM SHERWIN 


Born in Wellington, Shropshire, about 1650 and flourished from 1670 to 
1711. Died about 1715. 


SHERWIN, WILLIAM 
836. Porrrair or Epwarp Warp. (Author of “London Spy,” etc.) 
Line-engraving. — 
FINE, EARLY IMPRESSION; RARE. 


From the F. Walker Collection. 


JOHN SIMON 
Born in Normandy, 1675; died in London, 1755. 


SIMON, JOHN 
837. CoLttey Cissper. Apparently in the character of Lord Top- 
pington in the “Careless Husband.” 3 

C. Smith, II. No. 39. 
After Grisoni. Celebrated actor and writer, born in Lon- 
don in 1761; Poet Laureate; severely satirized by Pope; 
died 1757. Only one state known. VERY FINE IMPRESSION. 
Framed. 
From the Royal Collection at Windsor Castle. 


JEAN PIERRE SIMON 


Worked in London about 1785. 


SIMON, JEAN PIERRE 


838. AncEts’ Heaps (Children of Lord William Gordon) (Miss 
Frances Isabella Kerr Gordon). Stipple. 
After Sir Joshua Reynolds. First state. Proof before 
letters printed in black ink. VERY FINE AND RARE. 


SIMON, JEAN PIERRE 


839. CrepuLtous Lapy anp Astrotocer. Stipple. 
Portalis and Beraldi, III, p. 548. 
After J. R. Smith. Very nicely printed in colors. Framed. 


Fourth Session, Tuesday Evening, April 13th 


SIMON, JEAN PIERRE 


840. SteEepiInc Nymex (Mrs. Opie). Stipple. 
After John Opie. SupERB PROOF BEFORE LETTERS, printed 
in brown. Large margin. Framed. 


JEAN-BAPTISTE SIMONET 


Born in Paris, 1742; died there, 1813. “Another engraver who was a 
favorite interpreter of the work of Baudouin was Jean Baptiste Simonet, 
whose three most celebrated prints are ‘Le Coucher de la Mariée,’ ‘Le 
Modele honnéte,’ and ‘La Soiree des Tuileries.’ ... The essential charac- 
teristics of Simonet as an engraver were lightness of touch, correctness of 
execution and absolute fidelity to the original design.”—RatpH NEvIx1. 


SIMONET, JEAN-BAPTISTE 


841. Le Coucut pre ra Mariér. Line-engraving upon the etching 
by Jean Michel Moreau le jeune. 
Portalis and Beraldi, III, p. 557. No. 2. 
After P. A. Baudouin. Proof before all letters with the 
coat-of-arms only. ExTREMELY FINE IMPRESSION ON LARGE 
PAPER with untrimmed edges. VERY RARE IN SUCH FINE 
CONDITION. 


SIMONET, JEAN-BAPTISTE 


842. Le Dancer pu Tére-A-Tére. Line-engraving. 
Portalis and Beraldi, II, p. 557. No. 4. 
After P. A. Baudouin. VERY FINE AND RARE. 
“Simonet’s best work, apart from ‘Le Coucher de la Mariée,’ is ‘Le Danger 


du Téte-a-Téte,’ also after Baudouin, and in this work his ability with the 
mordant as well as with the burin is clearly seen.”—Lavrence and DicHTon. 


SIMONET, JEAN-BAPTISTE 


843. La Sorte pes Turteries. Line-engraving. 
Portalis and Beraldi, III, p. 557. No. 5. 
After P. A. Baudouin. Proof before all letters and before 
the border. VERY FINE AND EXCESSIVELY RARE. 


“La Soiree des Tuileries’ is incomparably superior to its pendant ‘Rose 
et Colas,’ being indeed one of the most pleasing of French prints. ‘Rose 
et Colas, though pretty, is more ordinary in style, and in consequence 
less valuable than ‘La Soiree des Tuileries,’ of which it may be added, 
two gouarhes still exist.”"—Ratpn NeEvILt. 


Fourth Session, Tuesday E'vening, April 13th 


JOHN SMITH 


Born, 1652; died, 1742. “Even in his own time the merits of: this engraver 
were highly appreciated, and subsequent writers, as Walpole, have con- 
sidered him one of the great improvers of the art. He certainly excelled 
in brilliancy of effect, and was powerful, clear and correct in drawing.”— 
CHALONER SMITH. 


SMITH, JOHN 


844. Wm. Wycuerty. Mezzotint. 
C. Smith, III. No. 284. 
After Sir Peter Lely. Second state. Very FINE IMPRES- 
SION WITH THE INSCRIPTION. Rare. 


JOHN RAPHAEL SMITH 


Born at Derby, 1752; died at Doncaster, 1812. “About 1767 he came to 
London, and, it is said, first engaged himself as a shopman, but soon en- 
tered on the career of an artist. He practiced painting extensively, and 
drew with great spirit. A very considerable number of his prints are from 
his own designs and pictures, yet he was most successful in his renderings 
of the works of Gainsborough, Reynolds and Romney. The prints pub- 
lished by him between the years 1775 and 1787 are, nearly without exception, 
among the most admirable productions ever executed in mezzotint.”— 


CHALONER SMITH. 

“Among all the engravers the art of mezzotint has produced, J. R. Smith 
is perhaps the most skilful and accomplished. His scraping has all the 
strength and vigor of a man who is complete master of his craft, while his 
training as a painter enabled him to add to his touch the true feeling of the 
artist."-— ALFRED WHITMAN. 


SMITH, JOHN RAPHAEL 


845. Tur Hon. Mrs. E. Bouverte. Mezzotint. 1799. 
C. Smith, III. No. 19. 
Half length. After John Hoppner. First state. Proof 
before all letters and before the border, probably unique. 
SPLENDID IMPRESSION, WITH A SMALL MARGIN. 


Arabella, daughter of Sir Chaloner Ogle, Bart.; married, first, in 1785 (his 
second wife), Hon. Edw. Bouverie, youngest son of the Ist Earl of Radnor, 
who died in 1824; second, in 1828, Robert Talbot, son of Richard Talbot, 


who died in 1843. 


Mourate Sessore 0 Cer eay al ve eee eee 


SMITH, JOHN RAPHAEL 


846. Mrs. Carnac. Mezzotint. 1778. 
Smith, III. No. 31. a 

Full length portrait. After Sir Joshua Reynolds. Sec- — 

ond state. BrautiruL proor with the artist’s name and — 

the publication line in scratched letters. q 

Elizabeth, only daughter of Thomas Rivett, Esq., of Derby, M.P.; marred 


John Carnac, Esq., brigadier-general in the East India Connpaiy’s Servicé, 
who died at Mangalore, 1800. 


SMITH, JOHN RAPHAEL 
847. Tue Ciavertne Cuiupren. Mezzotint. 1779. 
C. Smith, ITI. No. 41. 
Whole length. After George Romney. First state. Very 
FINE PROOF with the artists?’ names in scratched letters 
only. At top and sides no margin, at the bottom only 
one-half inch. | 
Children of George Clavering. of Greencroft, Esq. The girl died unmarried, 
1795; the boy, born 1771, succeeded his uncle, Sir Thomas, LL.D., of Axwell 
Park, Co. Durham, as 8th Baronet. Died at Clifton, 1853. 


SMITH, JOHN RAPHAEL 


848. Lapy CaTHErRINE Petuam Curmnton. Mezzotint. 1782. 
ColSmihie ll Teoma 
Whole length. After Sir Joshua Reynolds. Second state. 
FINE IMPRESSION WITH THE INSCRIPTION. 
From the A. Morrison Collection. 


Born 1776, only daughter of Henry Pelham Clinton, styled Earl of Lincoln, 
and grand-daughter of Henry, Duke of Newcastle; married, 1800, William, 
styled Lord Folkstone. She died at Paddington, 1804. 


SMITH, JOHN RAPHAEL 


849. Miss Cumperztanp. Mezzotint. 1779. 
C. Smith, III. No. 49. 
Half length. After George Romney. First state. Verry 
FINE PROOF BEFORE THE INSCRIPTION in scratched letters. 
Elizabeth, eldest daughter of Richd. Cumberland, Esq.; married, 1782, Lord 
Edward Charles Cavendish-Bentick, who was youngest son of the 2d Duke 
of Portland, and died in 1819. She died at Ramsgate, 1837, aged 77. 


Fourth Session, Tuesday Evening, April 13th 


SMITH, JOHN RAPHAEL 


850. THE Gower Famity. Mezzotint. 1781. 
C. Smith, III. No. 68. 
Whole length standing. After George Romney. First 
state. VERY FINE SCRATCHED LETTER PROOF. 


Susan, second daughter of Alexander Stewart, 6th Earl of Galloway; mar- 
ried, 1768, Granyille, 2d EKarl Gower. She died 1805, aged 60. Her chil- 
dren were: Georgiana, born 1769; Charlotte Sophia, born 1771; Susanna, 
born 1772; Granville, born 1773. 


SMITH, JOHN RAPHAEL 


851. Mrs. PHorBeE Horrner (Sophia Western). Mezzotint. 1784. 
C. Smith, III. No. 87. 
Half length. After John Hoppner. First state. SupErs 
PROOF BEFORE THE BORDER LINE AND THE CHANGES IN THE 
FACE. PROBABLY UNIQUE. 


SMITH, JOHN RAPHAEL 


852. Lapy CarorineE Montacue (as Winter). Mezzotint. 1777. 
Ooms, Tt. .No. 110. 
Whole length standing. After Sir Joshua Reynolds. First 
state. Proof with the artists’ names and publication line 
in scratched letters. 


Born 1774; third daughter of Henry, 3d Duke of Buccleugh; married at 
Richmond, 1803, Charles Douglas, Bart. She survived her husband, who 
died in 1837. 


SMITH, JOHN RAPHAEL 


853. Tur Hon. Miss O’Nertz. Mezzotint. 1798. 
C. Smith, III. No. 123, 
After W. Peters. Half length. Undescribed state, before 
the first mentioned by Smith. Proof with the artists’ 
names only in scratched letters. ‘The publication line is 
put on in ink by hand. Propasiy uNIQUE. 


Henrietta Boyle, only child of Charles, Lord Dungarvan; married, 1777, 
John O’Neill, Esq., who died of wounds received in action with the Irish 
rebels, 1798. Was an early patron of Mrs. Siddons, and is described as a 
most charming person. She died in Portugal in 1793, aged 37. 


Ga 


"Sg Fourth Session, Tuesday Evening, April 13th 


_ SMITH, JOHN RAPHAEL 
854. THE CHILDREN or WALTER Synnot, Esa. Mezzotint. 1782. — 

_ C. Smith, II. No. 160. . a 

After J. Wright. First state. BrauTiruL scRATCHED 

LETTER PROOF. Plate mark missing. | 7 

Walter Synnot, Esq., of Ballynoyer House, Co. Armagh, who was after- : 

wards knighted, married, first, 1770, Jane, daughter of John Seton, Esq., 

of Camberwell, Surrey, representative of the Setons of Parbroth. Their — 


children are those represented: Marcus, born 1771: Walter; and Maria Eliza, 
died unmarried in 1800, aged 24. 


SMITH, JOHN RAPHAEL 


855. Tue Ferncaruerers. Mezzotint. 
Not mentioned by Smith. 
After George Morland. Print in colors. Framed with 
black glass mat. 


SMITH, JOHN RAPHAEL 


856. Visit TO THE GRANDFATHER. Mezzotint. 


Engraved by E. Dayes. Fine open letter proof with — 
margin. Framed. 4 


SMITH, JOHN RAPHAEL 


857. A Loisir. Stipple. 
Nicely printed in colors. 


JONATHAN SPILSBURY 


Flourished in London from 1760 to 1790. 


SPILSBURY, JONATHAN 


858. Miss Jacons. Mezzotint. 1762. 
C. Smith, III. No. 21. 
Three-quarter length sitting. After Sir Joshua Reynolds. 
First state. ExTrrEMELY FINE PROOF BEFORE ALL LETTERS. 
Small margin. 


Fourth Session, Tuesday Evening, April 13th 


SIR ROBERT STRANGE 


Born in one of the Orkney Islands, 1723. Died in London in 1792. 
“Strange had a style of his own—rich, soft and peculiarly adapted to the . 
rendering of flesh tints..—Tur Gotpen Ace or ENGRAVING. 


STRANGE, SIR ROBERT 


859. ApraAHAM SENDING Away Haecar. Line-engraving. 1767. 
Le Blanc. No. 1. 
After Guercino. First state. Proof before all letters. 
VERY FINE. 


STRANGE, SIR ROBERT 


860. ‘THE Maponna oF St. JEROME WITH Str. Mary MacpaLEN AND 
AneEus (called “The Day of Correggio”). 1771. 
Le Blanc. No. 7. 
After Correggio. Second state. 
“Among the many fine subjects which Strange engraved .. . there is 
none more attractive or a more faithful translation of the original than the 
famous ‘Madonna of St. Jerome, with the Magdalen and Angels.’ ”—W1111s 


O. Carin. 
“His acknowledged masterpiece is the ‘Madonna of St. Jerome,’ called ‘The 


Day,’ after the picture by Correggio.”—Cuaries SuMNER. 


STRANGE, SIR ROBERT 


861. Venus—Danaé. Line-engravings. 1768. 
Le Blanc. Nos. 27 and 35. 
Both after Titian. Second states. A BEAUTIFUL PAIR, IN 
FINE CONDITION WITH UNCUT MARGINS. (2) 


STRANGE, SIR ROBERT 


862. Venus anp Aponis. Line-engraving. 1779. 


Le Blanc. No. 29. 
After Titian. First state. Proof before all letters. VrEry 


FINE AND RARE. Proors oF STRANGE’S ENGRAVINGS ARE OF 
THE UTMOST RARITY, MORE SO THAN OF ANY OF THE OTHER 
MASTER-ENGRAVERS. 


STRANGE, SIR ROBERT 


863. Forrune. Line-engraving. 1778. 
Le Blanc. No. 41. 
After Guido Reni. First state. Beautiful proof before 
all letters. Very RARE. Framed. 


Fourth Session, Tuesday Evening, A pril 13th 


STRANGE, SIR ROBERT , 4 

864. CHarztes I anp THE Mareuis or Hamitron. Line-engraving. 4 
1782. | | 3 

Le Blanc. No. 45. E “a 

After A. van Dyck. First state. Superb proof before all e. 

letters. Tus Is ONE OF THE THREE GREAT PORTAITS BY (@ 

THIS ENGRAVER. Framed. . a 


STRANGE, SIR ROBERT 


865. Tue CHILDREN oF CHARLES I 
Le Blanc. No. 49. 


After A. van Dyck. Second state. SuPERB IMPRESSION 


IN PERFECT CONDITION. 


STRANGE, SIR ROBERT 


866. APoTHEOSIs OF THE Princes Octavius AND ALFRED, CHILDREN © 
oF Georce III. 1786. 
Le Blanc. No. 50. 
After Benjamin West. First state. VERY FINE PROOF 
BEFORE ALL LETTERS. Framed. | 


FIFTH SESSION 
WEDNESDAY AFTERNOON, APRIL 14, 1915 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 867 to 1028 inclusive 


NICOLAS HENRI TARDIEU 
Born in Paris, 1674; died there, 1749. 
TARDIEU, NICOLAS HENRI 
867. L’EmBarauemMent pour Cytuére. Line-engraving. 
Portalis and Beraldi, III, pp. 582-83. No. 1. 
After A. Watteau. Superb impression, in perfect con- 


dition. THIS PLATE RANKS AS THE FINEST OF ALL PLATES 
AFTER WATTEAU. 


DAVID TENIERS 


Born in Antwerp, 1610; died in Brussels, 1690. 
TENIERS, DAVID 


868. Tue Arcuers. Painter-etching. 
Dutuit, V. No. 387. 


First state. Fixe rmpression. Framed. 


ROBERT THEW 


“An excellent engraver in the chalk and dotted manner; was born at 
Patrington, Holdernesse, in 1758; served until 1783 as a soldier, and then, at 
Hull, took to engraving visiting cards and addresses. His head of an old 
woman, after Gerard Douw, first brought him into notice, and he was 
afterward employed by Boydell on the large plates for his ‘Shake- 
speare.’ He died 1802.”—Bryan. 


THEW, ROBERT 
869. Mr. ann Mrs. Cosway. Stipple. 


After Richard Cosway. Fine impression in brown. 


Fifth Session, Wednesday Afternoon, April 14th 


PAOLO TOSCHI > 


Born at Parma, 1788; died there, 1854. Pupil of Bervic. Director of the 
Academy of Fine Arts. 4 


TOSCHI, PAOLO 


870. Maponna pELLA Tenpa. Line-engraving. 
Apell, p. 431. No. 2. 
First state. Proof before all letters. 
VERY FINE. 
“The last of the great Italian engravers was Paolo Toschi, pupil of Ber- 
vic, who was himself a pupil of Wille. It remained for Toschi to discover — ¥ 
in the lovely frescoes of Correggio, at Parma, a mine of the richest ore, ~ 
which his predecessors for more than three centuries had scarcely touched. 
The ‘Madonna della Scala, the ‘Incaronata’ and the pair of groups of 
cherubs may be cited as examples of what Toschi has done for Correggio 
and for art.”—Goipen AcE or ENGRAVING. 


TOSCHI, PAOLO 


S71. Maponna DELLA Scaxta. Line-engraving. 
Apell, p. 431. No. 3. 
After Correggio. Remarque proof. 
EXCEEDINGLY FINE AND VERY RARE. ‘THIs IS ADMITTED TO 
BE THE MOST BEAUTIFUL OF ALL TOosCHI’s ENGRAVINGS. 


TOSCHI, PAOLO 


872. La Discesa DELLA Croce (Dsecent from the Cross). Line- 
engraving. 1843. 
Apell, p. 431. No. 6. 
After Daniel di Volterra. First state. Remarque proof 
with the white square on the cross. VERY FINE AND RARE. 
Framed. 


TOSCHI, PAOLO 


873. VeNus anp Aponis. Line-engraving. 
Apell, p. 481. No. 8. 
After F. Albano. First state. Proof before all letters. 
VERY FINE AND RARE. This is the principal part of the 
picture in the Louvre. Framed. 


Fifth Session, Wednesday Afternoon, April 14th 


CHARLES TURNER 


Born at Woodstock, 1774; died there, 1857. 
TURNER, CHARLES 


874. Miss CHo~tMonpELEY. Mezzotint. 
A. Whitman. No. 111. 
Full length standing. After John Hoppner. First state; 
FINE PROOF BEFORE THE RETOUCH, WITH large margin. 
Framed. 


TURNER, CHARLES 


875. Apmirat Lorp Netson. Mezzotint. 
A. Whitman. No. 401. 
Full length portrait. After John Hoppner. Earlier state 
than the first mentioned. Proof before all letters, touched 
upon by the painter to indicate to the engraver where to 
lighten the plate. VERY FINE AND EXTREMELY RARE. 
This engraving was published on the day of Nelson’s funeral, by P. & D. 
Colnaghi & €o. There had been no time to engrave the title on the plate, 
and the proofs were sold wet as they came from the printer. Only a very 
few have been preserved, and the present impression, touched upon by the 
painter of the picture, is probably unique. 


TURNER, CHARLES 


876. Lorp Newron (Charles Hay). Mezzotint. 
A. Whitman. No. 403. 
After Sir Henry Raeburn. Half length. First state. Very 
FINE. Open letter proof with good margin. 


TURNER, CHARLES 


877. Inrerior or a Cotrtacre. Mezzotint. 
A. Whitman. No. 745. 
After Thomas Gainsborough. Third state. VeERy FINE. 
Script letter proof. Framed. 


TURNER, CHARLES 


878. Lirrite Corracer. Mezzotint. 
A. Whitman. No. 746. 
After Thomas Gainsborough. Third state. Framed. 


TURNER, CHARLES 


879. Hese. Mezzotint. 
A. Whitman. No. 761. 
After F. Huet-Villiers. First state. Verry FINE PROOF 
BEFORE LETTERS. Tramed. 


Fifth Session, Wednesday Afternoon, April 14th 


TURNER, 
880. 


TURNER, 
881. 


TURNER, 
882. 


J. M. W. TURNER 


Born, 1775; died, 1851. 

“The ‘Liber Studiorum’ was intended by Turner from the first to be a series 
—not of sketches, but of fully finished pictures; and these pictures were to 
illustrate his whole range of powers, and to embrace every sort of subject 
of which he considered himself master. . . . The ‘Liber Studiorum’ 
came forth a truly monumental work, taking rank with the highest produc- 
tions of Turner’s genius.”-—W. G. Raw rnson. 


J. M. W. 


JUNCTION OF SEVERN AND Wye. Etching and mezzotint. 
Rawlinson. No. 28. 
Drawn, etched and engraved by J. M. W. Turner. Sec- 
ond state; with the letter H in the lower right corner of 
the margin, but before the dot in the bow of the P. of 
the initial letters. Framed. 
From the W. S. Carter Collection. 
“One of the most beautiful of the ‘Liber’ subjects. Fine impressions have a 
certain rare bloom on them—if I may use the word. They seem to recall the 
indescribable bright freshness one has sometimes seen over a landscape on a 
June morning, when the increasing warmth of the sun has just—but only 


just—cleared off the early mists, and, with a clear sky overhead, everything 
is sparkling with dew.”—-Raw irinson. 


J. M. W. 


Woman at A Tank, or Hrypoo ABLUTION. Etching and mez- 
zotint. 
Rawlinson. No. 38. 
Engraved by W. Say. First state. Before the mark 
resembling a broad capital A. in the margin. Framed. 


From the W. §S. Carter Collection. 


“Exceedingly fine. . . . The print is intensely poetical in feeling through- 
out.” —Rawlinson. 


J. M. W. 


Sotway Moss. Etching and mezzotint. 
Rawlinson. No. 52. 
Engraved by Thomas Lupton. Second state. A single 
diagonal stroke in the left lower corner in the margin. 
Framed. 
From the W. S. Carter Collection. 


“Solway Moss’ is one of the truly grand plates of the ‘Liber-—perhaps the 
grandest of them all. Both painter and engraver seem to have surpassed_ 
themselves here.”—Rawtinson. 


Hifth Session, Wednesday Afternoon, April 14th 


TURNER, J. M. W. 


883. Tur Castte Azove tHe Mrapows (often called “Oakhampton 
Castle.” E. P.) Etching and mezzotint. 
Rawlinson. No. 8. 


First state; VERY FINE PROOF WITH THE LETTERS E. P. in 
OPEN CAPITALS: Framed. 


7 VAN ASSEN 
VAN ASSEN 
884. Lavy Hamitron. Stipple. 


Fine mpression, in perfect condition. Framed. 


CORNELIS VAN DALEN, Jr. 


Flourished at Amsterdam from 1642 to 1665. 
VAN DALEN, CORNELIS, Jr. 


885. Grovannt Boccaccio. Line-engraving. 
Andresen, p. 318. No. 9. 
After Titian. First state. Stprersp proor BEFORE ALL 
LETTERS. 


ANTHONIE VAN DYCK 


Born in Antwerp, 1599; died in London, 1641. 

“No true critic can be indifferent to Van Dyck. He was one of the great 
princes of the art. . . . He had all the great qualities; he had perfect 
freedom and exquisite refinement. . . . His aims were few, his choice 
of means instinctively wise and right, his command of them absolute, his 
success complete.”—P. G. Hamerton. 


VAN DYCK, ANTHONIE 


886. CHRIsT WITH THE Cane. Painter-etching. 
Dutuit, TV, p..155. A. 
Second state. Very FINE Impression from the finished 
plate (most likely finished by Lucas Vorsterman) before 
the words: “A Bon Enfant excu,” were added following 
the word ‘‘Privilegio.” 


Fifth Session, Wednesday Afternoon, April 14th 


VAN DYCK, ANTHONIE GRE 


887. Lucas VorsTERMAN. Painter-etching. 
Wibiral. No. 14. 
Not mentioned by Fagan. 
‘First state (of 5). Supers impression of the pure etch- 
ing, with margin. EXTREMELY RARE. 
From the A. Curtis, H. S. Theobald and two other collec- 
tions. 


“On regard cette piece comme le chef-d’ceuvre des eaux-fortes de Van 
Dyck.”—WIsirRat. 


VAN DYCK, ANTHONIE 


888. Frans Francx. Painter-etching. | 
Wibiral. No. 6. : 
Second state. VERY FINE PROOF BEFORE THE INSCRIPTION 
AND THE BORDER-LINE. In perfect condition, and with 
unusually large margin. 


VAN DYCK, ANTHONIE 


889. Jan p—E WaerL. Painter-etching. 
Wibiral. No. 17. : 
First state (of 5). Very rine impression before the left 
arm and hand have been indicated and before all letters. 
OF THE GREATEST RARITY. 


From the H. S. Theobald Collection. 


CHARLES STORM VAN ’S GRAVESANDE 


Born at Breda, 1841. 

“There are few etchers in any age who are at the same time simple in their 
methods of work and original. The proportion of such etchers at the pres- 
ent day is small indeed. . . . The truth is, as any one who likes to try it 
will soon discover for himself, that the power of etching simply and beau- 
tifully at the same time is very rare. It has always seemed to me, and it 
seems to me still, that this gift is the gift for an etcher.”—P. G. Hamerton. 


“TI find Gravesande the ideal painter-etcher—a maker of illusions rather 
than of lines—whose lines are so fused and lost in the perfect whole that we 
see and feel what is done, with never a thought for the means whereby it got 
itself done. It is a comfort to sit down before the work of such an artist 
as this.,—JoHN WirttAmMson Parmer. 


VAN ’S GRAVESANDE, CHARLES STORM 


890. Enrr&e pe Fortr (near Kelheim, Bavaria). Original dry- 
point. 
Rice. No. 25. 
Signed proof. Framed. 


; 
: 
| 


Fifth Session, Wednesday Afternoon, April 14th 


VAN ’S GRAVESANDE, CHARLES STORM 


891. Movin av Borp pu Gerry, pris AspcoupE. Painter-etching. 
Signed artist’s proof on Japanese paper. VERY FINE IM- 
PRESSION; the dry-point rich and velvety. One of the 
most highly prized of the master’s dry-points. Framed. 


From the W. S. Carter Collection. 


LUCAS VAN LEYDEN 


' Born in Leyden in 1494; died in 1533. 
“His engravings rank with those of Marc Antonio and Albert Diirer. Good 
impressions are exceedingly rare, and even during the lifetime of the artist 
sold at high prices.” 


VAN LEYDEN, LUCAS 


892. Apam anv Eve. Painter-engraving. 1519. 
Bartsch, VII. No. 8. 


VERY FINE IMPRESSION. 
From the A. Morrison Collection. 


VAN LEYDEN, LUCAS 


893. Apam anp Eve Arrer THE Exrutsion. Painter-engraving. 
1519. 
Bartsch, VII. No. 11. 


VAN LEYDEN, LUCAS 


894. THE Same. Woodcut. 
Bartsch, VII. No. 11. 
Reversed copy by Christopher van Sichem. 


VAN LEYDEN, LUCAS 


895. Cain Kiniine Azer. Painter-engraving. 
Bartsch, VII. No. 18. 


A delicate, early impression with wide margin. 
From the W. Esdaile, Baron Marochetti and A. Morrison 
Collections. 


VAN LEYDEN, LUCAS 


896. Lor anv His Davcurers. Painter-engraving. 
Bartsch, VII. No. 16. 
Old impression on paper with the “Gothic P.” Framed. 


Fifth Session, Wednesday Afternoon, April 14th 


VAN LEYDEN, LUCAS 


897. Davin PLayine THE Harp Berort Saut. Painter- “engraving 4 
Bartsch, VII. No. 27. . 

VERY FINE AND BRILLIANT IMPRESSION, On paper with the | 
watermark of the “Gothic P.” In splendid condition. 

ONE OF THE FINEST OF THIS ENGRAVER’S PLATES. Framed. 

SN othing can surpass the exquisite work of this engraving, nor aught rival ] 

its marvellous and brilliant silveriness.”— WI LtsHIRE. 


VAN LEYDEN, LUCAS 
898. Soromon Aporine THE Ipots. Painter-engraving. 
Bartsch, VII. No. 80. 
Framed. 
VAN LEYDEN, LUCAS 


899. EstHer Berorr AuasuERus. Painter-engraving. 
Bartsch, VII. No. 81. 


es 


FINE IMPRESSION on paper with the watermark “Gothic 


P.?? 
VAN LEYDEN, LUCAS 


900. TriumpH or Morpecat. Painter-engraving. 
Bartsch, VII.. No. 32. 
FINE IMPRESSION on paper with the “High Crown.” 
Framed. 


VAN LEYDEN, LUCAS 


901. SusannaH AND THE Expers. Painter-engraving. 
Bartsch, VII. No. 33. 


FINE, OLD IMPRESSION. 


» 


VAN LEYDEN, LUCAS 


902. Tuer Rest 1s Ecyrr. Painter-engraving. 
Bartsch, VII. No. 38. 
FINE IMPRESSION. 
From the A. Morrison Collection. 
Bartsch says that this plate must have been engraved about 1508. 


It is noticeable that very little foliage drawn to a large scale occurs in 
Diirer’s work, while it is very frequent in that of Lucas. 


VAN LEYDEN, LUCAS 


903. Tue Baptism or Curist. Painter-etching. 
Bartsch, VII. No. 40. 


i. 4 


Fifth Session. Wedicosan HEA ROOE “April ith 


WAN ERYDEN,.LUGAS,., (0-1 3; : 


904. Curist Berore THE Hicu-Prirst. From the round Passion. 
«-\Painter-engraving: 
Bartsch, VII. No. 59. Feit 
VERY FINE IMPRESSION, on paper with the watermark “High 
Crown.” EXTREMELY RARE. Framed. 


VAN LEYDEN, LUCAS... eave : : | 
905. Curist PRESENTED TO THE Be opre. Painter-engraving. 


Bartsch; VII. No. 71. 
FINE mpression. Slightly roared! Framed. 


VAN LEYDEN, LUCAS 
906. Tur Great Cructrixion (Calvary). Painter-engraving. 
Bartsch, VI: No: 74. 


FINE AND VERY RARE. 


VAN LEYDEN, LUCAS ..... «. 4» 
907. Curistr: Apprarinc to MacpaLen. Painter-engraving. 
Bartsch, VII. : ‘No: 77 
VERY FINE! IMPRESSION. | 
_, From.the A. Morrison Collection, ,. ... , 
One of the‘ most beatitiful'of the prints of Lucas van Leyden. 
Both Diirer and Lucas represented Christ, in ‘this scene, as Wearing a broad- 


brimmed hat, probably founding this conception on the phrase in the Gos- 
pel: “She, supposing him to be the gardener.” 


MANET REN LUCAS... Jo icin nig 


908. Return oF THE Propicat Son. Painter-engraving. 
Bartsch, VII: «No. 78. 


BriLLIANT IMPRESSION. Framed. 


VAN LEYDEN, LUCAS 
909. Sr. Lwxr. Painter-engraving. 
Bartsch, VII. + No. 104.0 
SupreRB IMPRESSION. Framed. 
From the A.. Morrison Gallectignw anise tes 


The'singular position of the Te s head is due to the fact that the Saint is 
using the tips of its horns as a'rest to'support the’ book in which he is writ- 
ing. This plate was believed by Bartsch to have been engraved about 1508. 


Fifth Cetin. Wednesday Afternoon, April 14th 


VAN LEYDEN, LUCAS 
910. THE Conversion oF Sauxt. Painter-engraving. 1509. - 
Bartsch, VII. No. 107. . 


_ Fine impression on paper with the watermark “Jug.” 
Framed. 


VAN LEYDEN, LUCAS 


911. Tempration oF St. AntHony. Painter-engraving. 
Bartsch, VII. No. 117. 
_ VERY BRILLIANT IMPRESSION on paper with the “Gothic 


P.” Framed. 


VAN LEYDEN, LUCAS. 


912. St. Grorce Liperatinec THE Princess. Painter-engraving. 
Bartsch, VII. No. 121. 


VERY FINE IMPRESSION. 
From the A. Morrison Collection. 


Undated, but believed to have been engraved about 1508. Lucas would then 
have been only fourteen at the time he engraved this plate, and indeed there 
is something about the way in which the Princess weeps at the prospect of 
being eaten by the Dragon and wipes away her tears in childish fashion 
with the back of her hand that tempts one to think that the artist who con- 
ceived it must himself have been a child who believed in the German fairy- 
tales not so very long before. 


VAN LEYDEN, LUCAS 


913. Tur Dance or THE MacpatEen. Painter-engraving. 1519. 
Bartsch, VII. No. 122. 
SUPERB IMPRESSION on paper with the watermark “Gothic 
Pp.” A tear in the upper portion of the print has been 
carefully mended. : 3 


From the R. Fisher Collection. 


“This beautiful piece, which Lucas engraved in the period of his greatest 
power, is one of his best works. Fine impressions are extremely difficult to 
find. They were already sold during the lifetime of Lucas at a golden florin, 
which was for that epoch a very great price; since then fine impressions have 
become still rarer, time having destroyed the greater number of them, and 
the price has rapidly increased, collectors sometimes pushing the print to 
enormous sums.”—BartscH (1796). 


Fifth Session, Wednesday Afternoon, April 14th 


VAN LEYDEN, LUCAS 


914. Manomet anp THE Monk Seretus. Painter-engraving. 1508. 
Bartsch, VII. No. 126. : 


This is Van Leyden’s first dated print. It illustrates the story of why the 
prophet forbade the drinking of wine. In company with his friend, the 
monk Sergius, Mahomet once fell asleep, overcome with wine. During this 
time a soldier killed the monk and put the sword into the prophet’s hand. 
On his awakening, the soldiers told him that it was he who had killed the 
monk while drunk. Mahomet knew nothing about it, but realized the ter- 
rible consequences of overindulgence and prohibited the use of wine. 


VAN LEYDEN, LUCAS 


915. Tue Port Vircin SusPpENDED IN A Basket. Painter-engrav- 


ing. 
Bartsch, VII. No. 1386. 


Fine old impression, slightly repaired. Framed. 


VAN LEYDEN, LUCAS 


916. Tur Promenave. Painter-engraving. 
Bartsch, VII. No. 144. 


FINE IMPRESSION. 


VAN LEYDEN, LUCAS 
917. A Burroon Kissinc a Woman. Painter-etching. 
Bartsch, VII. No. 150. 
From the W. Drugulin and A. Morrison Collections. 


VAN LEYDEN, LUCAS 


918. Tue Musicrans. Painter-engraving. 


Bartsch, VII. No. 155. 


This is one of the charming prints of the period of Diirer’s influence, 
full of a fine humor, and though small it is one of the most desirable plates 
of the engraver. 


VAN LEYDEN, LUCAS 


919. Tue Dentist. Painter-engraving. 
Bartsch, VII. No. 157. 
ExTreMELY RARE and from a technical point, one of the 


best pieces by the master. 


4 tle bie vay? ar ns | 


Fifth ee ah Wednesia ieee A pril 14th 


VAN LEYDEN, LUCAS.,, 


920. Tue Mitxmaip. Painter-engraving. 
Bartsch, VII. No. 158. 
A MOST BRILLIANT IMPRESSION. Framed. 
van ons oowFrem the J. S. Morgan Collection. 
VAN LEYDEN, LUCAS , 


1 o3a 4 ph Ses Eo greed ee 27 oe eh, eae ed 
921. ORNAMENT! WITH! dara DotPuins. Painter-engraving. 
Bartseh,’ Vi. No. 161. 


FINE IMPRESSION. 
VAN LEYDEN, LUCAS bra 
922. ORNAMENT! 'wirH Two Spiryxes. Painter-engraving. 
Bartsch, VII. No. 162. 
VAN LEYDEN, Pala ies 


$4 nee se F 4 ‘pe ays 


923. OrNAMENT wiTH Two MaeuaiDe Damen -engraving. 
Bartsch, VII. No. 164. 


The corners missing. 
VAN LEYDEN, LUCAS 


i» <>) 9h) Oe 
924. An EscurcHron with Two Wincep Genu. Painter-engrav- 
ing. 
Bartsch, VII. No. 167. 
From the Mariette and Von Nagler Collections; also Du- 


plicate from the Berlin Museum. 
i x 4 is : 3 My he y ‘i 
bx +b Sito an + AUGFS 


‘ISRAEL VAN MECKENEM 

Worked in Bocholt and died there, 1503. Goldsmith and engraver. 

“There is evidence that Israel’s stylistic connection with the Netherlands 
may be referred in a particular degree to a possible’ apprenticeship ‘with 
Master W. Like most of the early engravers, he was a goldsmith, and never 
in fact much more than a clever craftsman, He was a prolific producer, 
his work amounting in all ‘to 570 plates, but a large proportion are 
copies from’ E:'S.,‘Schoéngauer; the’ young Diirer' and others. “He was one of 
the first engravers té apply ‘to’ 'any’ extent the idea ‘of ‘reworking old plates 
after they were worn with many printings. Nor did'‘he limit this practice 
to his own engravings, but reworked numerous plates of others, e.g., of 
EK. S. and F. V. B., and more than all of the ‘Master of the Berlin Pas- 
sion, who has been recently identified with Meckenem’s father.”—Hrnp. 


VAN MECKENEM, ISRAEL: .,, 
925. Tue Dance or Heropias. Engraving. 
Bartsthy VES Noe: at oe at) ee aes 


Very fine impression’of one of’ the engraver’s most inter- 
esting plates. OF GREAT RARITY. 


Fifth Session, Wednesday Afternoon, April 14th 


VAN MECKENEM, ISRAEL. 


926. Curist Carryine THE Cross. From the Passion. Engraving. 
Bartsch, VI. No. 17. foe ek 


A MOST BRILLIANT IMPRESSION. 


From the Ambroise-Firmin Didot and Louis Galichon Col- 
lections. eh ttt 


rk ee | 


VAN MECKENEM, ISRAEL 
927. Sr. Luxe Parntine THE Picture or THE VirGIn. ee aving. 
fy Bartsch, Viv. No. iL OM; Us ee 


St. take is supposed to Depa the father of the en- 
graver. SUPERB IMPRESSION. 


From the A. Morrison Collection. 
VAN MECKENEM, ISRAEL 


Veh) GBR» St. "Grecory: “Engraving. 
Seek Fy Bartsch, iVI-* No. 101. 


VERY FINE AND EXTREMELY RARE. 


VAN MECKENEM, ISRAEL 


929. Tur Hoty Famiry. Engraving. 
, , Bartsch, VI.. No.. 148.., 


VERY FINE AND- EXTREMELY RARE. 


VAN MECKENEM, ISRAEL 


930. THE GuiTar-PLAYER AND THE Lapy. eae 
Bartsch, VI. No. 174. 
This print ‘and the’ following may be considered perfect 
examples of van Meckenem’s work. * VERY scarce. 


From the A. Morrison Collection. 


VAN MECKENEM, ISRAEL 


931. Tur Fatconrer anp THE Lavy. Engraving. 
Bartsch, VI. No. f77., he 
This print ,and, the; foregoing may be considered perfect 
examples of van Meckenem’s: work. Very scarce. 


From the A.’ Morrison Collection. 


= 


Fifth Session, Wednesday Afternoon, April 14th 


VAN MECKENEM, ISRAEL 


932. Tur Batu. Engraving. 
Bartsch, VI. No. 187. 


VERY FINE IMPRESSION AND EXTREMELY RARE. 


VAN MECKENEM, ISRAEL 


933. Tue GEenEALocicaL TREE or Curist. Painter-engraving. 
Bartsch, VI. No. 202. 


This being an ornamental plate, it is most likely an original design by the 
master and not like most of his other plates, a copy of another engraver’s 
work. | 


ADRIAEN VAN OSTADE 


Born in Haarlem, 1610; died there, 1685. 

“Among the Genre Painters of Holland, Adriaen Van Ostade holds, both 
as painter and as etcher, the first rank. Pupil of Frans Hals. At that time 
his fellow-student, Adriaen Brouwer, and later on, Rembrandt, had great 
influence upon his development. Rembrandt particularly influenced him in 
composition.” 


VAN OSTADE, ARDIAEN 


934. Le Coup pre Courrzau. Painter-etching. 
Dutuit Ves Nomrs: 
VERY FINE IMPRESSION BEFORE THE PLATE WAS RETOUCHED. 


From the Prince Soutzo Collection. 


VAN OSTADE, ARDIAEN 


935. Le Removurevr. Painter-etching. 
Dutuit, V. No. 86. : 
First state. SupErB ImpREssion with the thin border- 
line and before the shading below the left arm of the knife- 
grinder. With full margin and in perfect condition. 


From the Alfred Hubert Collection. 


VAN OSTADE, ARDIAEN 


936. Le Cuarcurier. Painter-etching. 
Hutuit, Vi. Nowads 
Second state. VERY BRILLIANT, EARLY IMPRESSION WITH 
THE THIN BORDER-LINE. 


From the Duke of Buccleugh and Baron Von Lanna Col- 
lections. 


Fifth Session, Wednesday Afternoon, April 14th 


VAN OSTADE, ARDIAEN 


937. Lz ViouiIn ET LE Petir VISLLEUR. Painter-etching. 
Dutuit, V. No. 45. 
Second state. SuprERrB impREssion before the cross-hatch- 
ing of the figure of the man seated in front of the door. 
From the Verstolk de Coelen, Guichardot and A. Hubert 


Collections. 


VAN OSTADE, ARDIAEN 


938. La Danse av Caparet. Painter-etching. 
Dutuit, V. No. 49. 


Sixth state. THis Is PROBABLY THE FINEST IMPRESSION IN 


EXISTENCE. 


From the A. Hubert Collection. 


“It is probable that, like many painters, Ostade set too low a value on his 
etchings, not troubling to put them much into commerce during his life- 
time. This view would at least account for the rarity of early impres- 
sions, and it is only in these that their true virtue can be seen, as nearly 
all the plates have been many times heavily reworked.”—Hrnp. 


DIRICK JACOBSZOON VELLERT 
(Dirick van Star) 


Flourished at Antwerp between the years 1511 and 1544. “In this com- 
bination of etching with engraving, Lucas van Leyden has a follower in 
an Antwerp artist whose identity has only recently been established, Dirick 
Jacobszoon Vellert (Dirick van Star), as he has been called, from his 
signature. This point of contact, their close connection in style, and the 
fact that Vellert’s earliest etchings are dated 1522, when Lucas was in 
Antwerp, seem to show that Vellert was inspired, if not instructed, in 
this sphere of art by Lucas van Leyden himself. As a designer of glass 
windows, Vellert had been at work in Antwerp for a decade before he 


turned to engraving.”—Hinp. 
VELLERT, DIRICK JACOBSZOON 
939. St. Bernarp Paintine A PICTURE OF THE YVirGIN. Painter- 
engraving. 
Bartsch, VIII. No. 8. 
VERY FINE AND RARE. 


peel Session, ee casa, April 14th 


wip ° Ny 4% qx *! roar? a4 


ENEA VICO . 


Se Say ao ae OR me 


Born at Parma, 1523; died at Ferrara, 1570. “Engraver and archeologist. 
He went at an early age to Rome, where he was first instructed by Tom- 
maso Barlacchi. ... He soon reached, excellence, studying successively the 
manners. of Cale Bonasone, Agostino Veneziano, Caraglio, and especially 
Mare Antonio. _Passavant dates from about 1550. the development of a 
oe of his own, remarkable for delicacy of execution and the skilful 
use of fine, .closely-set.lines.’-—-Bryan.. .. |... 5} 


VICO, ENEA 


940. BarrLe oF THE LAapirHs AND CENTADURS. mee 1542. 
Bartsch, XV. No. 80. eit fa oF 1o48 
After Salviati. The Lapiths Gahan AGATE ‘the. Cen- 
taurs, who are attempting to carry away Hippodamia, 
wife of Pirithous. Good old impression. 


From the Sir M. Masterman Sykes Collection. 
This plate is cited by Bryan as one of Vico’s best works. 


PIERRE VIEL 


Born in Paris, 1775; died —.° His style of engraving is neat and finished. 
VIEL, PIERRE 3 


941. Diane au Bary. Line-engraving. 
-, Portalis:and Beraldi, IL, p. 617. 
After P. Mettay. Framed. 


CORNELIS VISSCHER 


gs -p b°- | 


Born in Haarlem about 1620; aed there, 1670. ‘He was a pupil of Peter 
Soutman,, but adopted a manner, of his own and has never been surpassed 
in the technic of line engraving. ‘His ‘Giles Bouma,’ the ‘Pancake Woman,’ 
the ‘Seller of Rat’s Bane’ and the ‘Cat’ may be cited as models of per- 
fection in the carriage of the burin. —Brvan. 


VISSCHER, CORNELIS 


942. THE Pancake Woman. Painter-engraving. 
Dutuit, VII. No. 42. 
Third state. Supers impression from the Tee plate, 
but before the words: “Clement de Jonghe exc.” 


From the Benoni White Collection. 


While Mes pli) zea algse ea ae cate 


VISSCHER, CORNELIS” 


943. Venver oF Rav Porson. Painter- ep aroMe: 

ets, > » Dutuit, VI. No. 43. 
Third state. Proof before any aTeRIpUGn on ne lower 
plate-margin. VERY FINE IMPRESSION. 


tea 


VISSCHER, CORNELIS 

* "944. 'Tsre Mousk’Trarv. Painter-engraving. 
Dutuit, VI. No: 45. : 
Second state. SUPERB IMPRESSION BEFORE THE NAME OF 
THE ENGRAVER. 


t ie 


VISSCHER, CORNELIS 
945: Geriius ve Bouma. Line-engraving. 1656. 
mii 3s) Dutuit, VL «No. 894: «. ae baths 
From life.* Third state. Very FINE IMPRESSION with the 
date in the middle of the lower margin. ONE oF THE MAS- 
TERPIECES OF ,PORTRAIT-ENGRAVING. ; 


an ase or, “4 hd ees 


VISSCHER, CORNELIS 


946. Lizven vaN Copprnon (writing master). Line-engraving. 
Dutuit, VI, pp. 494-495.’ No. 98. | 
Second state. VERY FINE PROOF before all letters, with the 
eorrected wright’, sleevess: wii. baad 
From the A. Bourduge ellen. 


VISSCHER, CORNELIS 


947. Henrierra CarHertne or Nassau. Line-engraving. 1649. 
Putmit, V1... No. 187. ' | 
After G. Van Honthorst. BrauTiruL AND RARE. Framed. 


+ 
\ 


VISSCHER, CORNELIS 


948. Jan pE Parr. Line-engraving. 
Dutuit, VI.‘ No. 111. 
Second state. VERY FINE, on paper with the watermark 
“Folly.” Framed. 


= 


Fifth Session, Wednesday Afternoon, April 14th 


FRANCOIS VIVARES ~ 
Born at Lodéve, 1712; died in London, 1782. Pupil of J. B. Chatelain. 
VIVARES, FRANCOIS 


949. LanpscapPE witH “THE Raps or Europa.” Line-engraving. 
1769. ; 

Andresen, II, p. 678. No. 22. 4 

After Claude Lorrain. First state. VERY FINE PROOF ~ 

BEFORE ALL LETTERS. Framed. 3 


From the W. H. Daugherty Collection. 


FRANZ VON BOCHOLT ) A : 


Worked before van Meckenem; from 1450 to 1480. “Another engraver 
whose work betrays the influence of the Dutch School, and of Dierick Bouts 
in particular, is known merely by his monogram FVB. In spirit he comes 
nearer than any engraver of the time to the Master of the Amsterdam 
Cabinet and to Schoengauer. His ‘Samson and the Lion’ has much of the 
vivacity of the former master, while technical analogies in the use of dry- — 
point, though more sparingly applied, may be noted in his greatest plate, 
' the ‘Judgment of Solomon.’ Old traditions call him Franz von Bocholt, 
but as yet no foundation has been discovered for the identification.”—Hinp. 


VON BOCHOLT, FRANZ 


950. JupGMENT OF SoLomon. Painter-engraving. 


_ Bartsch, VI-- No.2: 


NICOLAS JOSEPH wane VOYEZ 
Born at Abbeville, 1742; died (?). 
VOYEZ, NICOLAS JOSEPH Il’Aine 


951. La Torterre. Line-engraving. 
Portalis and Beraldi, III, p. 680. No. 3. 
After S. Freudeberg. 


WILLIAM WALKER 


Born in Edinburgh, 1791; died in London, 1867. 
WALKER, WILLIAM 


952. Sir Water Scotrr. Line-engraving and stipple. 1826. 
Apell, p. 454. No. 4. 
After Sir Henry Raeburn. A vERY FINE OPEN LETTER 
PROOF. Framed. 


Fifth Session, Wednesday Afternoon, April 14th 


JAMES WARD 
Born in London, 1769; died there, 1859. Pupil of J. R. Smith. 
WARD, JAMES 


953. Mrs. Bintrneron as St. Cecruia. Mezzotint. 1800. 
Geeomitn, LY. No. 5. 
Full length, standing. After Sir Joshua Reynolds. Sec- 
ond state. VERY FINE OPEN LETTER PROOF. Framed. 


From the Royal Collection at Windsor Castle. 


WARD, JAMES 
954. Diana anp Her Nympus. Mezzotint. 


Andresen, ITI, p. 702. No. 2. 
After P. P. Rubens. FrINe mmpression. 


From the W. Lawson Collection. 


WILLIAM WARD 


Born in London, 1766; died there, 1826.. Elder brother of the foregoing 
and the most distinguished pupil of J. R. Smith. 


WARD, WILLIAM 


955. DavcuTers or Sir ‘Tuomas Franxuanp. Mezzotint. 1797. 
Cesmith, IV. No. 38. 
After John Hoppner. Second state. VERY FINE OPEN 
LETTER PROOF WITH LARGE MARGIN AND IN PERFECT OR- 
DER. Framed. 


WARD, WILLIAM 
956. ExizaBpetH, Countess or Mrexporovucu. Mezzotint. 1784. 
C. Smith, IV. No. 58. 
After John Hoppner. First state. Proof before the re- 
duction of the plate. ExrreMELy RARE. 


Elizabeth, daughter of John Stephenson, Esq., of East Burnham, Co. 
Bucks, married, 1782, John, 2d Earl of Mexborough. Died 1821. 


WARD, WILLIAM 
957. Porrratr oF GEoRGE MoriuaNnp. Mezzotint. 1805. 
Ce Smith, LV. -No. 60. 
After Robert Muller. Proof before the first state, men- 
tioned by Smith. BriLLIaANT PROOF BEFORE ALL LETTERS 


ee Session, Wednesday Afternoon, A pril 14th 


ty, oH. UR Ete betie CY Es eG pots ooh; 


ae ivf 
-[No. 957—Continued] — : 
and before’ the grounded space outside the border was 


cleaned, ..The name,of:G. Morland.is. written in pencil on 7 


the bottom of the plate in Morland’s (?). handwriting, ; 
Probably this was a gee Sa submitted to the artist. 


re yeh BV he * D t : 5 tidiee (ae + Fe. oee 


WARD, WILLIAM 


EOE O Re David Winker. Mezzotint. 1818. 
C. Smith, IV:° No. 90. 
After, Andrew Geddes.: The only state known. SuprErs~ 
IMPRESSION IN PERFECT CONDITION. Framed. ; 
From the W. S. Carter Collec: 
14? 


WARD, WILLIAM 


959. Mrs. Micuartt ANGELO Taytor, as Mrranpa. Mezzotint. 
Not mentioned by C.' Smith. ' 
After John Hoppner. Suprers PROOF OF GREAT RICHNESS 
AND EXTREMELY RARE. Framed. 


WARD, WILLIAM 


960. OuTsIDE oF A CountRY ALEHOUSE. Mezzotint. 1797. 
Andresen, II, p. 704. No. 16. ORGAN 
After J..Ward. . VERY FINE IMPRESSION IN coLors. Framed. 


WARD, WILLIAM 


‘961:' Setrivc Rapsits. Mezzotint. 7 
After, J. Ward. VERY FINE IMPRESSION IN COLORS. 
Framed. 
par to No. 962. 


WARD, WILLIAM 


962. ComMPassIONATE CHILDREN. Mezzotint. 
After. .J.. Ward. .. VeERy'!.FINE IMPRESSION IN COLORS. 
Kramed.. 
Companion to No: 961. 


WARD, WILLIAM 


963. Tuer Cririzen’s Retreat. Mezzotint. 
After J. Ward. VERY -FINE IMPRESSION IN COLORS. 
Eramed.i *} .: 


$e % 


an | WTA, city PF Pad ew He PETTY BE CM. LAG sie 5 
Fifth Session, Wednesday Afternoon, April 14th 


uly 


WARD, WILLIAM bed) ytrba 


964. Tur Kirt Entaneuep. Mezzotint. 
Andresen, II, p. 704. No. 17. 
After G. Morland. VERY FINE IMPRESSION IN COLORS, 
WITH UNCUT MARGIN. Framed. 


WARD, WILLIAM 


965. Tue Coquette AT Her Torwer. Mezzotint. 
After G. Morland. VrEry FINE IMPRESSION IN COLOR. 
Framed. 
Companion to No. 966. 


oa 


WARD, ; WILLIAM, ;;. |, aasdiait 
966. Domestic Happiness. Mezzotint. © ' tote OSs 
After G. Morland. VERY FINE IMPRESSION IN COLOR. 
Framed. 
Companion to No. 965. 


WARD, WILLIAM 


967. Hesrration, Stipple. 
Nicely printed in colors. 


ANTHONIE WATERLOO 
Born in Amsterdam, about 1609; died there after 1676. “He is best known 
as’ an’ engraver and etcher.” ‘His ‘plates’ ustally représent forest ‘subjects, 
and according to Bartsch they amount to 136.''They are etched with spirit 
and facility and retouched with the graver.”—Bryan. 


WATERLOO, ANTHONIE 


968. Ser or Six Lanpscares. Painter-etchings. 
Bartsch, II. Nos. 65-70. 


First state. | Very FINE IMPRESSIONS WITH FULL MARGINS. 


From the Schroeter Collection. 


WATERLOO, ANTHONIE Le Ae 
969. LanpscarE witH Enizan Frep spy THE Ravens. Painter- 
!-etching.: ~ ! 
Bartsch, Th Nowi86. sr eter ok ete ts 
SUPERB IMPRESSION IN PERFECT CONDITION. 


From the H. S. Theobald Collection. 


Fifth Session, Wednesday Afternoon, April 14th 


CAROLINE WATSON | 


Born in 1761 (?); died, 1814. 
WATSON, CAROLINE ’ 
970. ConrempuaTion (Hon. Lady Stanhope). Stipple. 


After Sir Joshua Reynolds. Early impression in black, 
before the title was changed to “Hon. Lady Stanhope.” 


JAMES WATSON 


Born in Ireland, 1740; died in London, 1790. 
WATSON, JAMES 


971. Mrs. Apineron (as The Comic Muse). Mezzotint. 1769. 
Comithylyo sNowl, 


Full length, standing. After Sir Joshua Reynolds. First — : 


state. VERY BEAUTIFUL PROOF BEFORE ALL LETTERS. 
Framed. 


WATSON, JAMES 


972. Mrs. CaTHERINE Bunsury. Mezzotint. 1778. 
C. Smith; [V.. Noxi8: 
After Sir Joshua Reynolds. Second state (first published 
state). Scratched letter proof. The plate-mark is cut 
off at the bottom. ; 


Eldest daughter of Captain Kane Horneck; married, 1771, Henry William 
Bunbury. Died 1799. 


WATSON, JAMES 


973. Enizaperu, Ducuess or MancuestTEerR, AND Her Son, as Diana 
AND Curr. Mezzotint. 
C. Smith, IV. No. 97. 
Full length. After Sir Joshua Reynolds. First state. 
FINE PROOF WITH THE ARTSTS’ NAMES ONLY. Framed. 


THOMAS WATSON 


Born in London, 1743; died there, 1781. 
WATSON, THOMAS 


974. Lapy CaTHEerine Bampryipe. Mezzotint. 
C. Smith, LVs Noe 2: 
Full length, standing. After Sir Joshua Renate Sec- 
ond state. VrEry FINE PROOF with the artists’ names and 
the publication line in engraved letters. Framed. 


Fifth Session, Wednesday Afternoon, April 14th 


WATSON, THOMAS 


975. Mrs. Breresrorp, Mrs. Garpiner, Lapy Townsuenp, Known 
AS THE Irish Graces. Mezzotint. 


Daughters of William Montgomery of Magbie Hall; Mrs. Beresford is 
at the left and the Lady Townshend at the right. 


Cz omitn, LV. No. 6. 

From a painting by Sir Joshua Reynolds. Second state. 
FINE Impression before the names of the personages were 
erased and the new title: ‘‘A Sacrifice to Hymen,” was 
put on the plate. Framed. 


From the Royal Collection at Windsor Castle. 


JAMES HENRY WATT 


Born in London, 1799; died there, 1867. 
WATT, JAMES HENRY 


976. Tue Proczsston oF THE Frircu oF Bacon. Line-engraving. 
Apell, p..445. No. 7: 
After Thomas Stothard. VEry FINE OPEN LETTER PROOF 
on Inpia PAPER. Framed. 


FRANCIS WHEATLEY 
WHEATLEY, FRANCIS 


977. ‘THE Cries oF Lonpon. Stipple. 

The complete set of thirteen. 

No. 1. Primroses, engraved by L. Schiavonetti. 

No. 2. Milk Below Maids, engraved by L. Schiavonetti. 

No. 38. Sweet China Oranges, engraved by L. Schiavo- 
netti. | 

No. 4. Matches, engraved by A. Cardon. 

No. 5. New Mackerel, engraved by L. Schiavonetti. 

No. 6. Knives, Scissors to Grind, engraved by G. Vendra- 
mini. 


No. 7%. Fresh-gathered Peas, engraved by G. Vendramini. 
No. 8. Duke Cherries, engraved by A. Cardon. 

No. 9. Scarlet Strawberries, engraved by G. Vendramini. 
No. 10. Chairs to. Mend, engraved by G. Vendramini. 


a gs Re Pia I My, VE v 47 Be te Seed cf i ef" £OSESS | ae ¢ S90g i ‘ ft 


Fifth Session, Wednesday Afternoon, April tit 


[ No. 977—Continued]| : ciek Cpe) ae We oe, HOE 
No. 11. New Didve- Aotigs chanel by As Cardon. . — 
No. 12. Hot Spice Gneereee engraved | by G. Vendra- 
Sy crimimbyes ae) Ry Pay Pere MN ke 8 4 
No. 18. Turnips ad Carrots, engraved by T. Gaugain. — 
BEAUTIFULLY PRINTED IN COLORS AND VERY RARE IN SUCH 4 
BRILLIANT AND WELL-PRESERVED SPECIMENS. AI framed. 


(13) 


¥é ’ sa a5 ( 2 ee | Fy i ae 
‘- ee of A ae be. 


JAMES ABBOTT McNEIL WHISTLER 


Born in Lowell, Mass., 18384; died in London, 1903. “With the master- 

etchers of the world—Méryon’s equal in some respects, and, in some respects, | 
Rembrandt’s—there’ stands James’ Whistler.” ‘Connoisseurs, in France and 

England, in America, Holland, Bavaria, concede this now.”—FREDERICK 

WepMoRE. ; . 

“All his work is alike perfect. It has only been producéd' under different 

circumstances, and is an attempt to render different effects or situations. | 
Therefore the methods vary, but the results are always the same—great. 
The greatest, the most perfect, as a whole, that any etcher has ever accom- 
plished.”—Josrpu PENNELL. 


WHISTLER, JAMES ABBOTT McNEIL 


978. FumetTtTe. Painter-etching. ; 
Kennedy. No. 18. Mansfield. No. 15. Wedmore. No. 
One of the “12 etchings from Nature:”! Very FINE ‘EARLY 
IMPRESSION on ‘deep: yellow: India paper ofthe first pub- 
lished state; before the reprinting of the plate. 
From the Tracy Dows Collection. 


It is said’ that the model for Fumette was a little milliner of the Latin 
Quarter, named Eloise. 


WHISTLER, JAMES ,ABBOTT McNEIL 


979. La Marcu\npEe pe Movursrpde “ es. ; 
Kennedy. No. 22. Mansfield. No. 22. Wedmore. No. 
16. 


One ofthe “12: etchinigen rie Nature.” '' Second state, 
with:‘the ‘address of:Delatre::.:Proof on India paper, 
mounted on plate paper. | Framed. ‘' 
“In ‘La Marchande de Moutarde’ ‘and ‘The Kitchen’ . . . are beauti- 
ful chiaroscuro effects.”»—T. R. Way. 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL |. 


980. ‘THE KircHEen 


Kennedy. No. 24. Mansfield. No. 24. Wedmore. No. 
LO. 


One of the “12 etchings from Nature.” First state on deep 
yellow India paper. Framed. 


WHISTLER, JAMES ABBOTT McNEIL 


981. Annie SEATED. Painter-etching. 
Kennedy. No. 30. Mansfield. No. 29. Wedmore. No. 
24. 
Very fine first-state on greenish paper ExrrEMELY RARE. 
On the lower margin is written in pencil by Sir Seymour 


Haden, her father: “Annie Haden, 1859.”’ 


WHISTLER, JAMES ABBOTT McNEIL 


982. Otp WestmixstER Bripecr. Painter-etching. 
Kennedy. No. 39. Mansfield. No. 388. Wedmore. No. 


36. 
One of the “16 etchings.” VERY FINE IMPRESSION. 
Framed. 


WHISTLER, JAMES ABBOTT McNEIL 


985. Eacre WuarrF (Tyzac, Whiteley & Co.). 
Kennedy. No. 41. Mansfield. No. 40. Wedmore. No. 
39. 
One of the “16 etchings.” The plate was destroyed. The 
proof signed with the “butterfly” on the lower margin. 
Marked at the back “Very FINE PROOF,” and again signed 
by the artist. Framed. 


From the Monsignor Doane Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


984. THe Lime-Burner. Painter-etching. 
Kennedy. No. 46. » Mansfield. No. 45. Wedmore. No. 
AA, 
One of the “16 etchings.” One of the most beautiful of 
Whistler’s plates, and probably the earliest example of 
a system of composition which became very characteristic 
of him—that of a vista seen through a frame. Later ex- 


Fifth Session, Wednesday Afternoon, April 14th 


[ No. 984—Continued | 


amples of it are: The Traghetto, The Beggars, Doorway 
and Vine, San Biagio, and perhaps the last and frankest 
expression of all, The Garden. In these plates the fore- 
ground and middle distance are treated as an elaborate 
frame, for the most part in shadow, through which is seen 
a small and brilliantly-lighted distance. Framed. 


WHISTLER, JAMES ABBOTT McNEIL 


985. Becauet (The Fiddler). Dry-point. . 
Kennedy. No. 52. Mansfield. No. 52. Wedmore. No. 

48. 

One of the “16 etchings” On the margin Becquet has writ- 

ten: “Mon portrait grave par Whistler, Becquet.” Framed. 

Sir Seymour Haden, who could certainly be trusted not to overpraise 
Whistler’s work, said of this plate, “Rembrandt never did anything finer.” 

“The man began life as a sculptor, and then became a musician. Whistler 


often saw him, and liked him. He died a few years ago in Paris.”— 
JOSEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEIL 


986. Anniz Haven. Dry-point. 


Kennedy. No. 62. Mansfield. No. 62. Wedmore. No. 
oe 


Framed. 


| 


Of this beautiful and rare dry-point one might well quote Mr. Whistler’s 
dictum concerning the Infantas of Valasquez, who, “clad in esthetic 
hoops, are, as works of art, of the same quality as the Elgin Marbles.” 

“The most dignified portrait Whistler ever etched. It is as big in feeling 


as a portrait in oil, a proof that great art is not to be judged by size.”— 
JOSEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEIL 
987. Weary. Dry-point. 


Kennedy. No. 92. Mansfield. No. 92. Wedmore. No. 
83. 

T'HIs HAS BEEN PRONOUNCED BY ONE OF THE GREATEST LIV- 
ING JUDGES OF WHISTLER TO BE THE FINEST IMPRESSION IN 


EXISTENCE. Printed on thin Japanese paper of a rather 
warm tone. Framed. 


He TD 


Fifth Session, Wednesday Afternoon, April 14th 


_ WHISTLER, JAMES ABBOTT McNEIL 


988. Speke Haut No. 1. Painter-etching. 
Kennedy. No. 96. Mansfield. No. 95. Wedmore. No. 
86. 
The monogram has been introduced and the figure enriched 
with dry-point. Framed. 


From the Mortimer Menpes Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


989. THe Guirar-PLayerR. Dry-point. 

Kennedy. No.-140. Mansfield. No. 188. Wedmore. 
No. 122. 

Very fine impression on old laid paper and unusually rare. 
ONE OF THE FINEST PLATES OF WHISTLER’s MippLE—or 
Lryianp Prriop. It is the portrait of Ridley the artist, 
and is distinguished by much greater strength and bold- 
ness than most of his plates of this time. 


WHISTLER, JAMES ABBOTT McNEIL 


990. Lonpon Brincre. Dry-point. 

; Kennedy. No. 153. Mansfield. No. 150. Wedmore. 
No. 1238. 
Original dry-point, very fine impression before the lines 
of shading on the rowboat in front were made closer and 
uniformly extended to the gunwale. 


From the Tracy Dows Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


991. Orv Purney Brince. Painter-etching. 
Kennedy. No. 178. Mansfield. No. 175. Wedmore. 
No. 145. 
Exhibited at the Royal Academy in 1879-and published 
by the Fine Art Society, London. VERY DELICATE AND 
BEAUTIFUL IMPRESSION OF THE ONLY STATE PUBLISHED, 


signed with the Butterfly. 


From the Tracy Dows Collection. 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL 


992. NocruRNnE Sh an 
Kennedy. No. 184. Mansfield. No. 181. Wedmore. — 

No. 150. ag 

One of the “12 etchings” Trial proof, perhaps unique, — 
undescribed by Wedmore. With two gondolas in the fore- 4 
ground to the left. Printed and signed by Mr. Whistler. — 
On the back of the print is written, in the autograph of 
the artist, “T'rial proof. Early.” On old, laid paper. A 
SUPERB IMPRESSION; but the “night effect on the wide 4 
waters,” spoken of by Wedmore, is not visible in this state, _ 
which seems to be intended to represent early morning. 
. Framed. 


WHISTLER, JAMES ABBOTT McNEIL 


993. Tue Lirrrze Lacoon 
Kennedy. No. 186. Mansfield. No. 1838. Wedmore. 
No. 152. | 
One of the “412 etchings’”” Superb ae Peo of this ex- 
tremely rare-plate. Framed. 


From the Mortimer Menpes Calleeron 


“That Mr. Whistler did not need the smoke and mist of London to inspire 
him is most abundantly shown in these Venice plates. Here he had to 
deal with brilliant, clear atmosphere, yet he could give us just as much 
effect of space as he could in a silvery Nocturne. ... The same amazing 
effect of distance” (already noted in the Little Venice) “is produced in 
many others of the Venice etchings—such as the Little Lagoon, San Giorgio, 
the Upright Venice, and the Long Venice.”—T. R. Way. 


WHISTLER, JAMES ABBOTT McNEIL 


994. THe Panaces | 
Kennedy. No. 187. Mansfield. No. 184. Wedmore. 
No. 158. 
One of the “12 etchings” Unusvatty FINE PROOF, printed 
in brown ink. Much more atmospheric than most even of 
the finest impressions. Framed. 


From the Mortimer Menpes Collection. 


“Somewhat similar and equally fine are The Balcony, The Palaces, and the 
Two Doorways; the four prints showing superb draughtsmanship and Ke 
effective contrasts of light and shade.”—T. R. Way. 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL 


995. ‘THE Doorway 
Kennedy. No. 188. Mansfield. No. 185. Wedmore. 
No. 154. 
One of the “12 etchings.” On Japanese paper. Framed. 
This superb impression is from the collection of Queen 
Victoria and bears the royal stamp at the back. 
“Much richer in effect and with more elaboration of detail than is usual 
in this series, is the Doorway. A beautiful view of what has once been a 
palace. ... The fine architecture of the exterior with the rich drapery 


of the windows, is very beautifully indicated, and the water in the fore- 
ground is wonderfully transparent.”—T. R. Way. 


WHISTLER, JAMES ABBOTT McNEIL 


996. Tue Tracuetto, No. 2. 
Kennedy. No. 191. Mansfield. No. 188. Wedmore. 
No. 156. 
One of the “12 etchings.” Supers mmpression before the 
figure of the man at the left of the group sitting at the 
table was more fully indicated and before the foul biting at 
the bottom. Framed. 


“But there are no such perfect plates in the world as The Beggars, The 
Traghetto, The Two Rivas, and The Bridge.’—E. R. and J. PENNELL. 


WHISTLER, JAMES ABBOTT McNEIL 


997. Two Doorways 
Kennedy. No. 193. Mansfield. No. 190. Wetmore. 
No. 158. 
One of the “12 etchings.” This print seems to be much 
rarer than some of the other great pieces of the Venice 
Set. VERY RICH PROOF IN BLACK INK ON WHITE HOLLAND 
PAPER. Framed. 


, 
WHISTLER, JAMES ABBOTT McNEIL 


998. THe Breccars 
Kennedy. No. 194. Mansfield. No. 191. Wedmore. 
BNO. DY. 
One of the “12 etchings” Supers EARLY IMPRESSION, be- 
fore the margin was cut. Signed with the “butterfly” in 
pencil. 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL 


999. Tur Mast. Painter-etching. : 
Kennedy. No. 195. Mansfield. No. 192. Wedmore. ~ 
No. 160. : : 
One of the “12 etchings.” Supers proor of the first — 
published state; signed with the butterfly. Marked by — 
the artist with two 00 on the back. 


From the Tracy Dows Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


1000. Turkeys. Painter-etching. | a 
Kennedy. No. 199. Mansfield. No. 196. Wedmore. 
No. 165. a 
One of the “26 eich Proof signed with the butterfly. 
The plate destroyed. EXxTrEMELY FINE. 


From the Petit-Didier Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


1001. Nocturne: PaLaces. : 
Kennedy. No. 202. Mansfield. No. 199. Wedmore. 
No. 168. 
One of the “26 etchings.”” SupErs TriaL PROOF before the 
monogram and the diagonal shading in the upper part of 
the plate between the two palaces. Impression of a very 
rich golden brown color. Framed. 


From the H. S. Theobald Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


1002. Lone Lacoon 

Kennedy. No. 203. Mansfield. No. 200. Wedmore. 
No 169; 

One of the ‘26 etchings” An impression before the but- 
terfly. One or two little accidental scratches visible in the 
former proof have been burnished from the plate. Tuts 
IMPRESSION IS A WONDERFUL EXAMPLE OF WHISTLER’S GE- 
NIUS AS A PRINTER. Framed. 


From the H. S. Theobald Collection. 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL 


1003. Upricut VENICE. 
Kennedy. No. 205. Mansfield. 202. Wedmore. No... 
172. 
One of the “26 etchings.” <A trial proof. The foreground 
has been etched in, but the shadow of the large gondola 
was lengthened in the regular edition. Framed. 


From the Mortimer Menpes Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


1004. Tuer Riva, No. 2. 
Kennedy. No. 206. Mansfield. No. 203. Wedmore. 
No. 175. 
One of the “26 etchings.” BrAuTIFUL AND EARLY IMPRES- 
sion. EXTREMELY RARE. Framed. 


From the Mortimer Menpes Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


1005. Tue Batcony 
Kennedy. No. 207. Mansfield. No. 204. Wedmore. 
No. 177. 
One of the “26 etchings.” ‘The Doorway has been en- 
riched with dry-point and there is further shading on 
the balcony. Framed. 
From the Lawrence W. Hodson and Jules Gerbeau Collec- 


tions. 


“The printing of the water is very good.”—JoserH PENNELL. 


WHISTLER, JAMES ABBOTT McNEIL 


1006. THE GarpEN 
Kennedy. No. 210. Mansfield. No. 207. Wedmore. 
No. 180. 
One of the “26 etchings.” With the additional shading 
on the lintel of the door. Framed. 


“Whistler by this time has called into requisition the resources of ink— 
the plate is painted with ink; it is wiped exactly where wiping adds to the 
effect of it; and so we have as no one else could have given it to us . 
the San Biagio, and that marvelous piece, the Garden.” 


a 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL Ss 
1007. Lone VENICE = 


Kennedy. No. 212. Mansfield. No. 209. Wedmore. * 
No. 182. 3 


One of the “26 etchings” Framed. 


“The view from—I imagine—the Casa Jankovitz, where he lived most of e 
the time while he was in Venice.”—JosrrpH PENNELL. 


WHISTLER, JAMES ABBOTT McNEIL 


1008. Nocrurne: Furnace | 
Kennedy. No. 213. Mansfield. No. 210. Wedmore. 
No. 183. 
One of the ‘26 etchings.” Framed. 


“This is a marvelous piece of chiaroscuro. Very dependent upon Mr. 
Whistler’s printing, and to be compared only with the very finest impres- 
sions of the Forge and the Little Forge.”—Fruprerick WeEpMoRE. 

“In the Furnace, a nocturne in which, through a square opening in the 
wall at the side of a canal, is seen an interior brilliantly lighted by a 
furnace, the effect of chiaroscuro is still more exquisite.”"—T. R. Way. 


WHISTLER, JAMES ABBOTT McNEIL 


1009. Nocrurne: Saturr. Painter-ctching. 
Kennedy. No. 226. Mansfield. No. 223. Wedmore. 
No. 199. 3 


SUPERB IMPRESSION. PROBABLY THE FINEST IN EXISTENCE. 


From the Mortimer Menpes Collection. 


WHISTLER, JAMES ABBOTT McNEIL 


1010. Camro, No. 1 (catalogued by Wedmore as “Mother and 
Child”). Painter-etching. 
Kennedy. No. 847. Mansfield. No. 888. Wedmore. 
No. 224. 
SUPERB IMPREsSION of this extremely rare etching. Signed 
with the butterfly, and on the back marked by Whistler: 
“third proof” and signed with the butterfly. 


From the Tracy Dows Collection. 


Fifth Session, Wednesday Afternoon, April 14th 


WHISTLER, JAMES ABBOTT McNEIL 


1011. Batcony, AmsTERDAM. 
Kennedy. No. 405. Mansfield. No. 404. Wedmore. 
No. 262. 
SUPERB PROOF OF THE FINISHED PLATE on thin old laid 
paper, signed with the butterfly. Signed again on the 
back; apparently a selected proof from a collector. VEry 
SCARCE. 


WHISTLER, JAMES ABBOTT McNEIL 


1012. Lone Hovuse—Dyer’s—Amsterpam. Painter-etching. 
_ Kennedy. No. 406. Mansfield. No. 408. Wedmore. 
No. 266. : 
Eixtraordinarily fine impression on thin Japanese paper, 
marked by the artist with 0 on the back Tuts Is a suPERB 
EXAMPLE- OF WHISTLER’S LAST PERIOD AND IS AMONGST 
THE RAREST, OR PERHAPS THE VERY RAREST, OF HIS GREAT 
PLATES OF THE AMSTERDAM SERIES. It is about the finest 
subject in the series from an artistic point of view. 


WHISTLER, JAMES ABBOTT McNEIL 


1018. Pizrror. Painter-etching. 
Kennedy. No. 407. Mansfield. No. 406. Wedmore. 
No. 264. 


BEAUTIFUL IMPRESSION, OF THE UTMOST RARITY. Framed. 


“Most of the Venetian studies are superb, and are already extremely rare. 
It is still more seldom that we encounter those enchanting and marvelous 
productions of a yet later period, whose themes were taken from northern 
France, Holland, and especially Belgium. When by a mere chance any 
of these find their way into the market they are eagerly secured for many 
times their weight in gold; comprising, as they do, the very finest specimens 
of art in existence. I refer in particular to such studies as The Smithy, 
Palace, Brussels, Square House, Balcony, Amsterdam, Pierrot .. .’—Pror. 
Dr. Hans W. Srincer. 


WHISTLER, JAMES ABBOTT McNEIL 
1014. Tue Linenovuse. Lithograph. 
EXTREMELY RARE. Framed. 


= 


Fifth Session, W ednesday Afternoon, April 14th 


ROBERT WHITE 


Born in London, 1615; died at Bloomsbury in 1704. Pupil of David Loggan. _ 


WHITE, ROBERT 


1015. Porrrarr or Ortanpo Bripceman (keeper of the Great Seal). — 
Line-engraving. 4 
VERY FINE IMPRESSION, with a little margin. 


CHARLES WILKIN 


Born in London, 1750; died there, 1815. 


WILKIN, CHARLES 


1016. Lavy Cocknurn wirH Her Tureer Sons. Stipple. 
Andresen, II, p. 732. No. 1. 
After Sir Joshua Reynolds. Fine proof, with no other — 
inscription, but the artists’ names in scratched letters. 
Framed. 


JOHANN GEORG WILLE 


Born near Koenigsberg (Grand duchy of Hesse), 1714-1715; died in Paris, 

1808. “About the year 1736, in company with his countryman, Georg 
Friedrich Schmidt, he went to Paris to devote himself to engraving, an 
art which he greatly influenced. He soon received the favorable notice of 
Hyacinthe Rigaud, some of whose portraits he engraved, and, directed 
and advised by that master, rose rapidly into eminence, becoming the fore- 
most engraver of his time... . His prints bear dates from 1738 to 1790, 
after which time he became blind and impoverished during the Revolution. 
. .. He was the teacher of Bervic, J. V. von Miiller, Tardieu, and other 
eminent engravers, who in turn transmitted his instructions to their pupils, 
amongst whom were Desnoyers, Longhi, Toschi, Anderloni, and J. F. W. 
Miller.”»—W. O. Cuapin. 


WILLE, JOHANN GEORG 


1017. Instruction ParerNELLE (usually called the Satin Gown). 
Line-engraving. 
Apell, p. 461. No. 9. 
After G. Terburg. Fourth state. Fine oLp ImpREs- 
SION WITH THE INSCRIPTION. THE ENGRAVER’S CHEF 
D’@UVRE. 


Fifth Session, Wednesday Afternoon, April 14th 


WILLE, JOHANN GEORG 
1018. L’OsnsErRvATEUR DistTrRaAItT 
Apell, p. 462. No. 19. 
After Fr. Mieris. Second state. SPLENDID PROOF BEFORE 
LETTERS, WITH THE COAT-OF-ARMS. | 


WILLIAM WOOLLETT 


Born at Maidstone, 1735; died in London, 1785. “By an intelligent union 
of the point and burin he carried landscape engraving to a perfection 
unknown before his time, and still unsurpassed. His foregrounds are as 
deep and vigorous as his distances are tender and delicate.”—Bryan. 


WOOLLETT, WILLIAM 
1019. Roman Enpirices. Line-engraving. 1772. 
Andresen, II, p. 750. No. 10. 
After Claude Lorrain. First state. Proof with coat-of- 
arms, the artists’ names, publication line and ‘Vol. IL, 
etc.,” in lightly etched letters. Framed. 


From the W. H. Daugherty Collection. 


WOOLLETT, WILLIAM 
1020. THe Tempie or Aportito. Line-engraving. 1760. 
| Andresen, II, p. 750. No. 11. 
After Claude Lorrain. First state. Proof with the names 
of the artists only. VERY FINE AND RARE IN THIS STATE. 
Framed. 


From the W. H. Daugherty Collection. 


WOOLLETT, WILLIAM 


1021. Tue Maip or tHe Mitzi. Line-engraving. 1768. 
Andresen, II, p. 751. No. 17. 
After J. Richards. FINE IMPRESSION WITH THE TITLE. 
Framed. 


From the W. H. Daugherty Collection. 


Fifth Session, Wednesday Afternoon, April 14th 


MARTIN ZASINGER (also ZAGEL) 


A goldsmith-engraver, working at Munich about the year 1500. Much doubt ~ . 
exists as to his identity, there having been other masters contemporary — 
with him who used similar monograms, ‘The earliest date on his existing © 
work is 1500, and he is thought not to have been alive after 1509. He is — 
also said to have been a pupil of Wolgemut, with whom Diirer studied. 


ZASINGER (also ZAGEL), MARTIN 


1022. A Tournament. Painter-engraving. 1500. 
Bartsch, VI. No. 14. é | 
The great Tournament in front of the new town hall of = 
Munich. Signed with Martin Zasinger’s initials and 
dated 1500. Inprressions or ZAzINGER’S PLATES OF SUCH 
QUALITY AND IN SUCH EXCELLENT CONDITION AS THIS ONE 
ARE OF THE GREATEST RARITY. 


ZASINGER (also ZAGEL), MARTIN 


1023. THe CovrLe Empracine. Painter-engraving. 
Bartsch, VI. No. 15. 
THIs Is AN IMPRESSION OF THE HIGHEST QUALITY, AND VERY 
RARE. Framed. | | 


ZASINGER (also ZAGEL), MARTIN , 


1024. Woman Beatinc Her Husspanp 
Bartsch, VI. No. 18. 


VERY FINE AND RARE. Duplicate from the British Museum. 


ANDERS L. ZORN 


Born at Mora, Sweden, in 1860. “Near the extreme end of the range of 
the art in one direction—at the opposite pole to the subtle delicacies of a 
Whistler—I should put Mr. Zorn’s bold, spirited, swiftly executed, yet 
completely satisfying works. Mr. Zorn’s method attracts us in the sense 
that, while seemingly hasty and almost illogical, it proves itself magnifi- 
cently adequate, and therefore skilfull and artful in the highest sense.”— 
Mrs. ScHUYLER VAN RENSSELAER. 


ZORN, ANDERS L. 


1025. Portrait or Mrs. Gransperc. Painter-etching. 
Signed artist’s proof. Framed. 


Fifth Session, Wednesday Afternoon, April 14th 


ZORN, ANDERS L. 


1026. L’érr. Painter-etching. 1907. 
Delteil. No. 210. 
Signed artist’s proof on Whatman paper. 


ZORN, ANDERS L. 
1027. Tue Precirice. Painter-etching. 1909. 
Signed artist’s proof. 
ZORN, ANDERS L. 


1028. Mona. Painter-etching. 
(The artist’s mother.) Signed artist’s proof. 


AMERICAN ART ASSOCIATION, 


: MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


“THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


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OF 


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JEWEES AND PERSONAL EFFECTS OF EVERY 
DESCRIPTION 


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NEW YORK | 


TELEPHONE, 3346 GRAMERCY 


_ COMPOSITION, PRESSWORK 
AND BINDING BY. * 


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